Proceedings of the Caidan
Known World Heraldic and Scribal
Symposium

Barony of Lyondemere
Kingdom of CaidAS XLII (2007)

Copyright c 2007 Caidan College of Heralds. Permission is given to reproduce the entire file or paper copies derived therefrom provided credit isgiven to the Caidan College of Heralds and no fees are charged for the reproduction other than nominal fees for the media onto which the document
is copied. Copyright for individual articles remains with the article author;
reproduction of an individual article requires the permission of that author.
The Symposium logo was created by Ian McIntosh (Lachlan of Cromarty,
Crescent Principal Herald) and is used by permission.

Contents
Seal Bags
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
A Brief History of Seals . . . . . . . . . . . . . . . . . . . . . . . . .
Use of Seals . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Materials Used for Sealing . . . . . . . . . . . . . . . . . . . .
Color Additives . . . . . . . . . . . . . . . . . . . . . . . . . .
Methods of Attachment . . . . . . . . . . . . . . . . . . . . .
Damage and Deterioration . . . . . . . . . . . . . . . . . . .
Seal Bags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Materials and Design Motifs . . . . . . . . . . . . . . . . . . .
Heraldic Motifs . . . . . . . . . . . . . . . . . . . . . . . . . .
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Seal Bags at the Cathedral Church Of Canterbury . . . . . . . . .
Seal Bags at Westminster Abbey Muniments . . . . . . . . . . . .

1
1
2
2
2
3
3
4
4
5
5
6
10
11
22

Medieval Painted Flags — A Study
Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reconstruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28
28
31
34
40

The Weldisshe Grant of Arms Copy
44
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Historical Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Physical Description . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Front of document . . . . . . . . . . . . . . . . . . . . . . . . 46
Rear of document . . . . . . . . . . . . . . . . . . . . . . . . . 46
Decoration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Transcription of Text . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Proceedings of the Caidan Known World Heraldic and Scribal SymposiumiThe proper care & feeding of Drolleries
56
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Natural Habitat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Breeds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Plug’n’Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
A Witch’s Kitchen
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
On parchment and paper . . . . . . . . . . . . . . . . . . . . . . . .
On cutting quills . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
On making ink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Inks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
On making paints . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Binder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pigments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

61
61
61
63
65
65
66
66
66

Jewish Names From the Roman Catacombs
I. Latin Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
I.A1. Latin Single Names (Male) . . . . . . . . . . . . . . . .
II. Greek Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
III. Semitic Names . . . . . . . . . . . . . . . . . . . . . . . . . . . .
III.A2. Semitic Female Names . . . . . . . . . . . . . . . . . .
IV. Double and Triple Names . . . . . . . . . . . . . . . . . . . . .
IV.A1. Latin Double Names (Male) . . . . . . . . . . . . . . .
IV.A2. Latin Double Names (Female) . . . . . . . . . . . . . .
IV.A3. Latin Partial Double Names (Female; Part of Inscription Obscured) . . . . . . . . . . . . . . . . . . . . . .
IV.B1 Latin-Greek Male Double Names . . . . . . . . . . . . .
IV.B2 Latin-Greek Female Double Names . . . . . . . . . . .
IV.B3 Latin-Greek Male Triple Names . . . . . . . . . . . . .
IV.B4 Latin-Greek Female Triple Names . . . . . . . . . . . .
IV.C1 Male Latin-Semitic Double Names . . . . . . . . . . . .
IV.C2. Female Latin-Semitic Double Names . . . . . . . . . .
IV.C3. Latin-Semitic Triple Names . . . . . . . . . . . . . . .

69
72
73
73
74
75
77
77
78
78
78
78
79
79
79
79
79

Personal Names from L’Armorial des Rois de l’Épinette
82
Introduction: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Proceedings of the Caidan Known World Heraldic and Scribal SymposiumiiSome Names from Picardy in the 14th Century
97
Introduction: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Complete Names: . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Given names: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Surnames: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Annexe A: Liste des participants venus d’autres villes en 1435

142

The Odd Couple, Part I: OSCAR
148
OSCAR Description and Features . . . . . . . . . . . . . . . . . . . 150
What OSCAR does for us . . . . . . . . . . . . . . . . . . . . . . . . 151
Downsides of OSCAR . . . . . . . . . . . . . . . . . . . . . . . . . 151
OSCAR Future Directions . . . . . . . . . . . . . . . . . . . . . . . 152
The Odd Couple, Part II: FELIX

154

Materials on the Proceedings Disk

158

Proceedings of the Caidan Known World Heraldic and Scribal SymposiumiiiIntroduction
These are the Proceedings of the Caidan Heraldic and Scribal Symposium,
held in the Barony of Lyondemere, Kingdom of Caid, in the month of June,AS XLII (2007 C.E.).
In addition to the Proceedings themselves, the CD on which they areprovided contains various other files that may be of interest; the Symposium staff hopes you will enjoy your visit to Caid, the Symposium, these
Proceedings, and the ancillary files.
We’ve organized the Proceedings’ articles by category: heraldic articifing, scribal studies, onomastics, and College of Arms administration. The
advantage of providing Proceedings on CD is that they may be included
without charge to all those attending the Symposium – an innovation wehope will be continuted at future Symposia.
We hope you find the articles both informative and pleasant to read;
we know we did.

Eowyn Amberdrake, Event Steward
Bruce Draconarius of Mistholme, Principal Editor
Eirı́kr Mjo̧ksiglandi Sigurdharson, Editor

Proceedings of the Caidan Known World Heraldic and Scribal Symposiumiv

Seal Bags
Rae Hadley (Tonwen ferch Gruffudd Aur)

Acknowledgements
Sometimes the most helpful thing a person can do to help with a projectsuch as this is to plant a seed and run far, far away. My great thanks to
Mistress Astra Christiana Benedict, OP, OL, who planted the seed thosemany months ago, that grew into a rather interesting quest.
I also want to acknowledge the great help that Ms Christine Reynolds,
Assistant Keeper of Muniments at Westminster Abbey, London, gave mewith this research. She has been a wealth of information, generous with
her time, and very patient with my endless questions. Permission to reproduce purchased photographs of some of the seal bags from Westminster
Abbey for these proceedings has been granted by the Dean and Chapterof Westminster, and are protected by copyright.

Introduction
Seals have been used throughout history to authenticate documents, either
in place of or alongside signatures. They were generally fragile, and the useof seal bags or pouches were the earliest means used to store and protect
them. It seems appropriate to first include a brief history of the use of
seals and the materials used for them. This section is not intended to be an
in-depth study of medieval seals, but rather a short review of the nature ofseals that would necessitate the use of seal bags and other means to protect
them. The main focus of this paper is to explore the construction and useof seal bags, and more specifically, to examine some heraldic examples ofthem.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

1Seal Bags

A Brief History of Seals
Use of Seals
Seals were used as early as the ancient world, where cylindrical seal matrices were rolled onto clay or wax. The use of seals in the west appeared to
decline around the fall of the Western Empire in the fifth century, and began to reappear around the seventh century, when lead seals were used on
papal documents. A small number of early kings and others in positions of
power, including Coenwulf, and the Holy Roman Emperor, Otto III, were
known to have used seals. Edward the Confessor was perhaps the earliestof the English kings to make use of an official seal, and William the Conqueror followed suit, using seals as a means of authenticating documents.
Seals began to be used more widely by princes, feudal lords and higher
clergy from the reign of Henry II. Towns, universities, civic corporations
and merchants were using them by the thirteenth century, and seals werein common use by the fourteenth century.1

Materials Used for Sealing
Many different types of materials were used for seals throughout history.
Beeswax was used for both pendant and applied seals. It did not adhere
well to parchment or paper, however, and often cracked or peeled off. The
use of twisted pieces of rush or paper to frame the seal helped improveseal adhesion. Wafer seals, or pieces of dampened paper placed over wax
before the impression was made helped reduce damage to the seal.2“True” sealing wax was used from about the early sixteenth century.
It was made from a combination of beeswax and colophony. Colophony
was a powdered resin that made the seal impression sharper and the wax
harden more quickly. Unfortunately, it also made the wax more brittle andeasier to damage.3
The use of a combination of paraffin wax and tallow4 was also describedin An Introduction to Seals, however the date of use of this combination was
1

United Kingdom Public Records Office. An Introduction to Seals. (Surrey: HMPO,
1996) 2. This document is no longer available from the National Archives.
2
Ibid., 10
3Ibid.
4Ibid., 11Proceedings of the Caidan Known World Heraldic and Scribal Symposium2

Seal Bags
not given. The author suspected that paraffin was a less costly alternative
to beeswax. Mixing tallow to the wax increased the plasticity of the seal.
Lac or shellac was also used as a material for seals at least since theseventeenth century. This resin is secreted from Tachardia lacca, a tree
dwelling insect native to India, Thailand, China, and Burma. It produced
a seal that was hard, elastic, and adhered well to paper.5 Lac continues tobe used for seals modernly and can be obtained in bead or stick form. A
recipe included in An Introduction to Seals combined “4 oz of shellac, 1 ozof terps, three oz of vermillion” to produce a red sealing wax.6
Lead was less frequently used as a material for seals. Its use wasrestricted to use on Papal documents, and it was not known to have beenused in England.7 Silver and gold was restricted for use by monarchs,
however, these seals were engraved rather than impressed with a seal
matrix.

Color Additives
In addition to the use of natural wax, two colors used for the majority
of seals during the medieval era were red and green. These colors wereobtained by adding vermillion for red, and verdigris for green wax. During
the medieval period, the importance of the document was indicated by thecolor of the wax used to seal it. Natural wax was primarily used for Great
Seals, sealing documents of routine business. Green was used for grants ofperpetuities, and scarlet was used for diplomatic purposes. During timesof mourning, seals were painted or varnished black.8

Methods of Attachment
Seals were either applied directly to documents, or were appended orhung from them. Applied seals were formed by dropping hot wax onto
the document and pressing the seal matrix into the wax. Pendant seals,
5

Ibid., 12
Ibid., This was quoted from another source: May Cassar The Conservation andTechnology of Non-Metallic Seal (University of London, 1982), from R.Tottil A Very
Proper Treatise, (London, 1573). Neither of these resources could be obtained by theauthor.
7
Ibid.
8
Ibid., 13
6

Proceedings of the Caidan Known World Heraldic and Scribal Symposium3Seal Bags
which could be single or double sided, were hung from the document,
attached with cords made of silk or hemp, tablet woven ribbon, tags, or
strips of parchment.9

Damage and Deterioration
Historical seals were generally fragile and subject to various forms ofdamage, much like modern seals are. Rough handling, improper storage,
the act of transporting documents and other accidents of use led to cracked
or broken seals. Pendant seals could be torn from the documents they wereattached to, or the cords cut or worn away. Some seal materials did notadhere well to parchment or paper and would detach from the documentcompletely.
Dirt and dust could mar the surface of softer seals, damaging the impression. Over time, some seals have become desiccated, delaminated,or marked by small tunnels that run through the seal, damaging both theimpression and the body of the seal. These types of damage may havebeen caused in part by fungus, micro-organisms feeding on small amounts
of protein in the wax, or by the use of lime in the production and cleaningof vellum.10

Seal Bags
Efforts to protect seals included encasing the seals themselves in skippets
or small boxes, wrapping the seals in lambswool, or placing the seals insmall pouches or seal bags, then rolling documents around the seal andplacing it in a document chest. Seal bags and pouches were the earliest
type of storage for pendant seals. Although the purpose of seal bags is toprotect the seals within them, it should be noted that the seal bags in thecollection at the Cathedral Church in Canterbury, which will be discussed
later, were found to be detrimental to the seals. The bags were removed
from the seals for the purpose of preserving both the seal bags and theseals they were meant to protect.11
9Ibid., 7–9.
Ibid., 15–16
11
Gertrude Robinson and H. Urquhart. “Seal bags in the Treasury of the Cathedral
Church of Canterbury.” Archaeologia 84 (April 1934), 163.
10

Proceedings of the Caidan Known World Heraldic and Scribal Symposium4Seal Bags

Shape
Overall, remaining examples of seal bags are most often sewn to loosely fit
the general size and shape of the seal, most often with a rounded top andstraight sides and bottom. They either had a drawstring closure at the top,or were sewn to fit the contour of the seal with a small opening at the top
to allow a cord, tag or ribbon to pass through which attached the seal tothe document. Some seal bags were constructed to fit the seal quite closely.
An example of a seal bag bearing the arms of the city of London shown in
Staniland is circular and follows the shape of the seal.12 Seal bag number
39 from the collection at the Cathedral Church of Canterbury in London
is lozenge shaped.13 According to Ms Christine Reynolds, the Assistant
Keeper of Muniments at Westminster Abbey, London, all of the seal bagsin their collection open at the bottom in order to allow examination of theseal.14

Materials and Design Motifs
Seal bags were made from a variety of materials, including vellum, linen,
leather, and silk. Of the collection of seal bags held by the Canterbury
Cathedral they are by far most commonly made from silk and linen. Seal
Bag number 2578 at Westminster Abbey was described as being made fromparchment and linen.15
Gertrude Robinson’s article, Seal Bags in the Treasury of the Cathedral
Church in Canterbury goes into detailed description of what was, at thetime she wrote, the largest collection of seal bags in England. Of the
39 seal bags,16 she noted that some were the remnant linen linings ofseal bags, some were probably made of tailors scraps, and others were of
12

Kay Staniland, Medieval Craftsmen: Embroiderers, (Toronto: University of Toronto
Press, 1991), 36.
13
Robinson and Urquhart, 204.
14
Christine Reynolds, e-mail correspondence to author, August 22, 2006, regarding seal
bag openings.
15
United Kingdom Public Records Office, 14; Robinson, 1; Reynolds, Christine, e-mailcorrespondence to author, March 16, 2007.
16
Dr. Malcom Mercer, e-mail correspondence to author, February 26, 2007 regarding
additional seal bags in Canterbury Cathedral collection since 1934. According to Dr.
Mercer, the collection at Canterbury Cathedral has not acquired any additional seal bags
since the writing of Robinsons article.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

5Seal Bags
plain silk “tabby” weave. Most of the bags in this collection, however,were made from pieces of silk that were hundreds of years older than thecharters bearing the seals that the bags protected. According to Robinson,these bags were likely to have been made from worn out vestments. A.
F. Kendrick agreed, adding that worn vestments were also used for booklinings as well as seal bags, giving us the only existing samples of fine, early
medieval silk weavings.17 None of the bags had Christian designs, but
contained designs and symbols of classical Greek figures, Persian hunting
scenes, Byzantium lions, and Mahommedan motifs.18
The seal bags at Westminster Abbey are simpler but similar to those at
Canterbury. Their designs are chiefly in plain weave or geometric design,
such as WAM number 1499, a seal bag covering the seal of Edward I, madeof silk and woven in a lozengy pattern (Figure 1). Other bags bear woven
designs of crescents and stars or suns as seen on a seal bag covering the sealof Edward I, WAM number 1505 (Figure 2), or rabbits, and other motifs
as seen on a seal bag covering the seal of Richard II, WAM number 17016(Figure 3).

Heraldic Motifs
The seal bags held at Canterbury Cathedral are made up entirely of woven
designs and none of them are identifiably heraldic. It appears, basedon these collections, that seal bags were more typically made from fabricscraps without any intention of the bags themselves being any notable
work of art in their own right, or of any design intentionally themed tothe use of the bag. There are, however, a few known exceptions to this
supposition, including two seal bags in the Westminster Abbey collection,and two seal bags associated with charters at the Corporation of London
Records Office.
Two of the seal bags at Westminster Abbey bear the arms of England.
The first bag, WAM number 1494, is perhaps the most thoroughly studied
in the Westminster collection. It is the only embroidered seal bag in either
the Westminster or Canterbury collections, and is the earliest piece of wool
inlaid work known in England.19 This seal bag (see Figure 4), covers the17

Robinson, 163; A. F. Kendrick, “Seal-Bags at Canterbury.” The Burlington Magazine
for Connoisseurs 53, no. 305 (August 1928), 87–88.
18
Robinson, 170-205.
19
Reynolds, Christine, e-mail correspondence to author, August 22, 2006 regarding seal

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

6

Seal Bags

Figure 1: Seal Bag from Westminster Abbey, WAM Number 1499, Edward I

Figure 2: Seal Bag from Westminster Abbey, WAM Number 1505, Edward I
Proceedings of the Caidan Known World Heraldic and Scribal Symposium

7

Seal Bags

Figure 3: Seal Bag from Westminster Abbey, WAM Number 17016,
Richard II
Great Seal, attached to a document dated 26 November, 9 Edward I (1280).
This bag displays the arms of England as they were from 1198-1340: gules,
three lions passant guardant or. The arms are displayed on a shield, inlaid on
a green background, with red and white foliage surrounding the shield.
The design is the same on both sides of the seal bag and the bag is linedwith plain blue linen. The outer edge is trimmed with an off-white silkcord, and has eight tassels at the sides and lower edge.
The second bag held in the Westminster Abbey collection, WAM number 1569, is woven rather than embroidered, with the arms of England ona heater shield, with a blue ground decorated with a stylized lily motif.20
Although this seal bag depicts the same style of arms as the previously
discussed embroidered bag, it is associated with a document dated 20 February, 4 Henry IV (1403), which is a time when the arms of England would
have been quartered with those of France.
Two other armorial seal bags are on documents held at the Corporation
bag WAM no 1494; Pritchard, Frances. “Two Royal Seal Bags from Westminster Abbey.”
Textile History 20, no. 2 (1989): 225.
20
Pritchard, 230.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

8Seal Bags

Figure 4: Seal Bag from Westminster Abbey, WAM Number 1494, Edward I
of London Office. These documents were received by the City of London
on June 8, 12 Edward II (1319). The first, charter 25, was an inspeximus
charter, or a royal grant. The second, charter 26, was a grant of some new
constitutions to the city.21 The seals on these two charters are protected byembroidered seal bags that are contemporary to the documents.
One side of the seal bag of charter 25 displays the arms attributed to
Edward the Confessor on a heater: purpure, a cross patonce between fivemartlets or, beaked gules. The other side of the bag depicts an image of
St. Paul, also on a heater: gules, St. Paul proper, robed or, holding in his dexter
hand, a sword argent, and in his sinister hand, a book, sable.22
The seal bag for charter 26 is similar, with a heater bearing the arms ofEngland: gules, three lions passant guardant or, with three gold crowns above
the arms on one side. The other side repeated the depiction of St. Paul as
21

John Bromley, “Two Armorial Seal-Bags of the 14th Century.” The Coat of Arms V,
no. 38 (April 1959), 177; Michael Chandler, B.A., and Donald B. King, B.A. “Two Charters
and Seal-Bags of 12 Edward II.” Guildhall Miscellany 2, no. 1 (September 1960).
22
Bromley, 179. The blazons for arms on seal bags for both charters are the authors
based on descriptions and images in Bromley.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

9Seal Bags
on the bag for charter 2523 .

Summary
There are 86 seal bags in the collections at the Canterbury Cathedral andWestminster Abbey, plus the two from the charters at the Corporation of
London that were reviewed for the purposes of this paper. Any number of
additional seal bags of no special note can be found cited in the National
Archives of the United Kingdom,24 attached to miscellaneous documents.
Generally, seal bags appear to have been made out of worn out vestments or scraps of fabric, usually silk and linen. Less frequently, these bags
were also made from leather and vellum. For the most part, the designsof the extant examples of seal bags were woven, and ranged from simple
weaves with no pattern, to geometric patterns, to far more complex motifs.
Very few of the examples looked at for this paper bore any relation ortheme to the seals they protected.
A few of the bags discussed did bear heraldic arms of those associatedwith the documents, and appeared to have been made specifically for those
documents. Three of the four examples of heraldic designs discussed were
the only seal bags of the 88 reviewed that were embroidered. The majorityof the seal bags discussed here were not made as works of art in theirown right. They were, however, exquisite examples of the silks of the
Middle Ages and gave us a glimpse of what would otherwise have been
lost entirely had those worn vestments not been put to one final use.
23

Ibid.
The National Archives can be found online at http://www.nationalarchives.gov.
uk/?source=home
24

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Seal Bags

Seal Bags at the Cathedral Church Of Canterbury
No.

Documenttion

Descrip-

1

Contained seal of license from Edward
III regarding land exchange for convent of
Christ Church

Date of Document

Seal Bag Description1366

Two rounds: right roundin one piece; left roundin two non-corresponding
pieces of the same silk,joined down the middle.
About 5” x 5”

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Seal Bags

No.

Documenttion

2

Descrip-

Date of Document

Seal Bag Description

Contained seal of Edward III to exemplification of a legal judgment and verdict.

1364

Two rounds: right roundhas piece missing and an
entirely different piece ofsilk sewn on; left roundfrayed and worn. Madefrom same silk as No. 1.
Roughly 5.5” x 5”. Woven design: 2 peacocks, oneeach side of a column, thetop opens out into palmbranches. Cufic inscription
on column. Design woven
in red, green, white, paleyellow, details in gold andsilver gilt.

3

Not indicated1188

Plain blue silk, twill weave,
About 5” x 4.5”

4Charter of Richard I

1189

Plain blue silk like no 3.

5

Charter of Richard
I given to Christ
Church, Canterbury
to revoke sales of land
improperly sold.

28 February
1191

Not properly a seal bag.
Charter wrapped in 12th c.
Sicilian silk. Woven design:
birds and rabbit in foliage
on right side, in brown, yellow, and blue silk with silver thread.

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12Seal Bags

No.

Documenttion

6

Descrip-

Date of Document

Seal Bag Description

Charter of Edward II

1317

Design: 2 broad bands,
separated by narrow bands
and stripes. Woven design
features a griffin carrying
a bird, heart shaped ornaments, styled in Persian tradition, probably woven in
North Africa. About 5” diameter

7

None

Not
cated

Indi-

Pointed at the top, attached to two parchment
tags. About 4.5” long, 2.5”
wide at widest end.

8

None

Not
cated

Indi-

Same silk as no. 7. About
3.5” long, 2.5” wide, separate lining in linen.

9

None

Not
cated

Indi-

Grouped with nos. 7 &8. About 3.25” long, 2.25”
wide. Woven design on
all three bags features gold
crescents, each containing
8 pointed stars on brown(probably originally red)background. What looks
like flowers on stems ora cross with foliation runs
through center of crescents.
Silk estimated to be dated
to end of 10th or beginningof 11th c.

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Seal Bags

No.

Documenttion

10

Descrip-

Date of Document

Seal Bag Description

None

1234

Small plain linen bag.

10a

None

Not
cated

Indi-

Plain buff silk, tabby weave

10b

None

Not
cated

Indi-

Plain buff silk, tabby weave

10c

None

Not
cated

Indi-

Plain buff silk, tabby weave

10d

None

Not
cated

Indi-

Yellow silk with narrow
herring-bone stripe, inbrown, white and red.

11

Charter of Henry II
giving the right offree warren to Christ
Church, Canterbury.

1264

Woven design, one side ofbag features peacocks repeated on bands of darkgreen background withbands one each side, oneof purple and one ofgreen, decorated with heart
shaped ornaments. Otherside of bag features a horseor ass in foliage. Woven design is in cream and white,dark green, yellow with remains of silver in weave.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

14

Seal Bags

No.

Documenttion

12

Descrip-

Date of Document

Seal Bag Description

None

Not
cated

About 3.75” x 2.75”, attached to fragment of 8stranded red silk braid,
which probably attachedseal to charter.
Woven design features heart
shaped ornaments on a redbrown ground. Lined withlinen. Silk may be Hispanomauresque, 12th or 13th c.

13

Charter by Queen
Eleanor to Christ
Church Priory

1290

About 4” x 3.25”.
Woven design of bands of yellow, with lozenges madeby dots, containing heart
motifs. Warp is pale buff
with traces of silver in weft.
Silk is same date and provenance as nos. 6 and 14.

14

None

1314

About 6.5” x 4.75”. Woven design features motifs of stripes, lozenges andhearts, with a cufic inscription that reads “There is no
God but Allah.” Bag issame date and provenanceas no. 6 with identical colors.

Indi-

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

15

Seal Bags

No.

Documenttion

15

Descrip-

Date of Document

Seal Bag Description

None

Not
cated

About 4.5” x 4.25”. Woven design is oval, withdouble headed eagle surrounded by a border ofsmall partridge-like birds,
cocks and perhaps ducks inmedallions. Background is
red-purple, design in darkgreen, purplish red, white,
blue-green. Seal bag usedin 11th c, silk presumed woven at Byzantium in 9th or
10th c.

16

Grant by license fromthe Pope and King,
from Walter Archbishop of Canterbury
to the Prior and Convent of Canterbury.

1326

17

None

Not
cated

Indi-

Fragments only.
Silk isbrownish-yellow with woven design of spread-eagle
motif. Silk is a loose andcoarse weave with a brown
warp.
Indi-

About 4” x 4.5”. Woven
design of palmette ornament with rabbits and birds
incorporated, blue groundwith design in yellow andcream.
Design appears
to be Sassanian work with
Asian influence.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

16

Seal Bags

No.

Documenttion

18

Descrip-

Date of Document

Seal Bag Description

None

Not
Indicated,but
probably not
later
than
13th c.

About 4” round.
Woven design heads, bodies
and wings of two birds
with a stylized tree between
them, and a motif of palmette ornament and a human head, bald with threelocks of hair on top of hishead incorporated in design. Complex discussionof origins of design, concluded to most likely be
Chinese-Turkestan, 8th or
9th c.

19

None

Not
cated

Indi-

Round silk bag, lined withlinen and laced up at thesides by a pink silk braid.
Bag is pink with woven yellow design of a griffin.

20

Bag is missing

21

None

Not
cated

Indi-

Plain green silk,
wave.

22

None

Not
cated

Indi-

9” x 5” wide at widest
point.
Very worn, woven design is one large animal. Probably purple background with yellow design.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

17

tabby

Seal Bags

No.

Documenttion

23

Descrip-

Date of Document

Seal Bag Description

Charter of Edward II

1321

Cut from same piece of fabric as 23a, 23b, 23d. Twoparts are about 10.25” x5.5”, all are “ordinary bag
shape but without join.”
Woven design is of griffin
and tree motif on a blue
ground, done in dark blue,
red, yellowish green

23a

None

Not
cated

Indi-

Two parts are about 9.5” x
5.75”. Design same as no.
23.

23b

None

Not
cated

Indi-

Two parts are about 10.5” x
6”. Design same as no. 23.

23c

None

Not
cated

Indi-

Design is same as no. 23e.
Woven design is of griffin and geese motifs, inred, yellow, cream, yellowgreen and dark blue. Almost certainly Sicilian, 13thor 14th c.

23d

None

Not
cated

Indi-

Two parts are about 10.5” x
6.5”. Design same as no. 23.

23e

None

Not
cated

Indi-

Design is same as no. 23c.
Woven design is of griffin
ad geese motifs, in red, yellow, cream, yellow-green
and dark blue. Almost certainly Sicilian, 13th or 14thc.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

18

Seal Bags

No.

Documenttion

24

Descrip-

Date of Document

Seal Bag Description

None

Not
cated

Indi-

One piece, about 11.5” x
7.5”. Woven design is of
peacock, rosette and foliage
motifs in golden yellow,
white, yellow on blue background. Warp is brownwith blue weft.

25

None

Not
cated

Indi-

About 4.25” x 4”, reddamask silk, lined withlinen with hole at top forseal tags, bound at the top
with red silk braid. Woven
design is geometric motif.

26

None

Not
cated

Indi-

9” x 5”. Red leather deerskin

27

None

Not
cated

Indi-

Plain linen bag

28

None

Not
cated

Indi-

Plain linen bag (evidently
the lining) with remnants ofdark brown silk attached.

29

None

Not
cated

Indi-

Remains of yellow silk lining.

30

None

Not
cated

Indi-

Two bags under this number, one about 5.5” x
5” and other about 5”
x 5”.
Very worn, reddish brown, lozenge diaper
pattern common in early
Byzantine woven fabrics.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

19Seal Bags

No.

Documenttion

31

Descrip-

Date of Document

Seal Bag Description

None

Not
cated

Indi-

Plain red silk

32

None

Not
cated

Indi-

Fragment is one bagshaped piece. About 6.5”
long, 4.5” at widest part,head is about 2.25” longand 3” wide. Rose coloredsilk, with woven design ofa lion or tiger. Probably 8th
c.

33

None

Not
cated

Indi-

Irregular shape, about 6.25”
at longest part and 5.5” atwidest part. Selvage onright hand side, deep crimson silk with gold stripes,
woven in trellis-work diamond pattern with small
gold brocaded flowers in
the center of each lozenge.
Probably 8th or 9th c.

34

None

Not
cated

Indi-

Plain red-brown silk bag
lined with linen.

35

None

Not
cated

Indi-

Linen bag lining

36

None

Not
cated

Indi-

Linen bag lining

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

20

Seal Bags

No.

Documenttion

37

Descrip-

Date of Document

Seal Bag Description

None

Not
cated

Indi-

Linen bag lining

38

None

Not
cated

Indi-

Small bag of plain goldenyellow silk

39

None

Not
cated

Indi-

Lozengeshapedbag,bound with yellow braidwith tassels at two corners
and a button of plaitedsilk that closes the bag.
Diagonal measures 6” and4” across. Silk is plain red
twill and lined with thesame fabric. Button andtassels made from silk cord.
Probably 17th c.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

21

Seal Bags

Seal Bags at Westminster Abbey Muniments
WAM No.

Bag Covers
the Seal of

Date of Seal

Seal Bag Description

XX

Edward theConfessor,
third charter

Not indicatedNot indicated

XXVII

William I

Not indicatedpattern in gold and inner
blue string

XXVIIIHenry I

Not indicated“probably one of the loose
white bags in this box.”

XXXII

Henry I

Not indicated“probably the other loose
white one, but in the other
box.”

XLIII

Henry II

Not indicated

red and gold indeterminate
pattern

XLVRichard I

Not indicated

red and gold indeterminate
pattern

LXIII

Edward III

Not indicatedpart of a circular pattern

XCV

Edward theConfessor,
first charter

Not indicatedcircular design

497

Henry
ConainNot indicated

Plain

499

William de St.
Paul

Not indicated

Plain

503

Roger son of
Richard

13th c.

Plain

506

William sonof Roland de
Sutton13th cPlain, diamond pattern

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

22

Seal Bags

WAM No.

Bag Covers
the Seal of

Date of Seal

Seal Bag Description

508

Richard I

Not indicated

Plain

512

Henry
ConainLate 13th c

Plain

514

William de St.
John, temp.
StephenNot indicated

Plain

516

Countess
Clementia of
Chesterc. 1232

Plain

519

William de St.
Paul

1221

Plain

939

Not specified

1488

Small bag on one of many
seals, plain

1494

Edward I

1280

Royal arms, earliest wool
inlaid work known in England

1498

Edward I

1280

diamond patterned yellow
silk

1499

Edward I

Not indicateddiamond patterned yellow
silk

1505

Edward I

1280

Inner and outer bags,
Stars/suns and crescents design on outer. Inner is sameas 1498 and 1499

1530

Edward I

1280

Diamond pattern, fragmentary

1545

Edward I

1292?Eight pointed shape design

1569

Henry IV

1403

Three leopards blue and red
colours remain

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

23Seal Bags

WAM No.

Bag Covers
the Seal of

Date of Seal

Seal Bag Description

2001

Geoffrey deMandeville,
Hurley Priory charter

1086

blue/red patterned

2455

Hugh de Cahaynes

1144-68

patterned silk,fragmentary

2578

Hugh
of
Wells, Bishopof Lincoln

Not indicatedparchment and linen

2813

Hamo son of
Mainfelin?1190s

plain

2835

Luffield Priory

1218

Plain

2881

William sonof Hamo de
Wlfrentun

1190-1220

Bag was missing in 1946

3057

St. Hugh of
Lincoln

1189-1200

Plain

3290

L. Reynsforthof Bradfield,
Essex

1455

Plain

3291

L. Reynsforthof Bradfield,
Essex

1455

Plain

3442

Edward III

1361

Plain

3551

GeoffrydeMandeville,
temp.
StephenNot indicatedBlue/silver pattern

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

24Seal Bags

WAM No.

Bag Covers
the Seal of

Date of Seal

Seal Bag Description

3587

Henry
I,
for
HurleyPrioryNot indicatedString bag

4412

John
de
Montchesney

1284

Plain

6234

Richard II

Not indicatedBlue velvet

6318A

Henry III

Not indicatedFine red/gold silk pattern

8580

William dAlbini
Brito,
temp. Henry
I

1120s

Pink
and
gold
scrunched up

9464

Henry III1267

blue/?silver,
patterned
birds, circular design andfoliage, other side a different piece of material?
Cardinal Ottobuonos seal
bag on this document now
gone

12753

Langtonjudgment

1222

seven bags,
weave

12819

Not indicatedNot indicated“cottonwool” and string

16219

Adam
son
of
EdwarddeWestburne, temp.
Edward II

Not indicatedplain gold silk, damaged

17016

Richard II

Not indicatedpattern of two facing parrots, rabbits or goats in circle

twoProceedings of the Caidan Known World Heraldic and Scribal Symposium

silk

color

25

Seal Bags

WAM No.
17311

Bag Covers
the Seal of

Date of Seal

Seal Bag Description

Abbot
vase

Not indicatedSame material as 8580

Ger-

References
1. Bromley, John. “Two Armorial Seal-Bags of the 14th Century.” The
Coat of Arms V, no. 38 (April 1959): 177-179.
2. Chandler, Michael, B.A., and Donald B. King, B.A. “Two Charters andSeal-Bags of 12 Edward II.” Guildhall Miscellany 2, no. 1 (September1960).
3. Kendrick, A.F. “Seal-Bags at Canterbury.” The Burlington Magazine
for Connoisseurs 53, no. 305 (August 1928): 87-91.
4. Mercer, Malcom, Dr., e-mail correspondence to author, February 26,
2007 regarding additional seal bags in Canterbury Cathedral collection since 1934.
5. Pritchard, Frances. “Two Royal Seal Bags from Westminster Abbey.”
Textile History 20, no. 2 (1989): 225-34.
6. Reynolds, Christine, e-mail correspondence to author, March 16, 2007
regarding list of seal bags in Westminster Abbey collection.
7. Reynolds, Christine, e-mail correspondence to author, August 22,
2006 regarding seal bag WAM no 1494.
8. Reynolds, Christine, e-mail correspondence to author, August 22,
2006 regarding seal bag openings.
9. Robinson, Gertrude, and H. Urquhart. “Seal bags in the Treasury of
the Cathedral Church of Canterbury.” Archaeologia 84 (April 1934):
163-211.
10. Staniland, Kay. Medieval Craftsmen: Embroiderers. Toronto: University of Toronto Press, 1991.
Proceedings of the Caidan Known World Heraldic and Scribal Symposium

26

Seal Bags
11. United Kingdom Public Records Office. An Introduction to Seals.
Surrey: HMPO, 1996.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

27Medieval Painted Flags — A Study
Shannon Miller (Rebecca Robynson)
Overview
Much has been written about the shapes and styles of medieval flags in
general, but little attention has been given to the subject of painted flags.
While very few examples are still in existence, ample evidence proves thatpainted flags were plentiful and popular in the Middle Ages.
Initially, flags were primarily used for militaristic and religious purposes, many flags doing double duty in that regard1 . Later as the systemof heraldry evolved, so too did the use of flags for heraldic display. Guilds
and cities had their own flags and displayed them in guildhalls and civic
buildings, a practice which continues today. Flags were incorporated into
civil and religious ceremonies, and individuals flags became abundant,with all manner of nobility having the desire to demonstrate their descentand importance. In 1492 at the funeral of Adolf of Cleves, lord of Ravenstein, four heralds followed behind the coach on horseback carrying fourbanners, each one bearing one of the four quarters of Ravensteins nobility,
ranked so that due honor was paid to the grandfather and the mother ofthe deceased2 .” In another example, Henry V commanded that ninety
banners painted with the arms of all the kings of Christendom, with multitudes of fanons streamers and valances” grace the carriage at Thomas
Beckets tomb3 . Likewise, the rising merchant class aspired to and imitatednobility, adding heraldic touches to their homes and halls. Non-heraldic
flags were also popular. Religious orders like the confraternities commissioned plague banners and banners of other religious motifs (like Corpus
Domini4 ) for processionals and rites. Flags and flag makers were in great
demand as flags became more and more prevalent in daily life.
1

Wescher, Flags, 2809.
Vale, A Burgundian Funeral Ceremony, 930.
3
Evans, English Art, 64.
4Villers, The Fabric of Images, 25.
2

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

28Medieval Painted Flags — A Study
Medieval flags could be embroidered, appliquéd, or painted (including
stamped), depending on their purpose and ownership. Some flags incorporated more than one form of decoration. A late 13th - early 14th Century
St. George banner from San Giorgio church in Velabro in the Vatican isa perfect example. The flag is made of red silk. The design work of St.
George rescuing his maiden from the Dragon while the King and Queenlook on from a castle window is achieved through appliqu, embroidery,and painted leather to remarkable effect.5
While embroidered flags were certainly impressive and durable, they
were costly and time—consuming. Flags for display (especially indoors)and meant to impress certainly warranted this type of decoration. In
1243 Henry III commissioned the embroiderer Mabel of St. Edmunds tomake for him a standard of ruby samite, well embroidered with gold andwith the images of the Virgin and St. John” to be displayed near thealtar at Westminster Abbey. She completed the flag in November of 1244.
Depending on when in 1243 she received the commission, it conceivably
could have taken Mabel almost two years to complete just one embroideredflag, which cost Henry £10 for Mabels labor, plus expenses.6
Appliqud flags, on the other hand, could imitate the opulence of embroidered flags but could be mass produced and completed in much lesstime and with much less expense. In 1300 such flags were produced for
Edward Is campaigns in Scotland. Appliqud Banners with the arms of St.
George cost only 1s. each.7 Hung from atop a pole or lance, exposed to theelements and the enemy, these working flags had little need for the subtle,
detailed beauty of embroidery.
Painted flags were inexpensive, more easily mass produced than appliqu flags, and could be achieved even faster when time was an issue. In
1348 Master Hugh le Peyntour of St. Albans painted 300 pennons withthe arms of St. George for the Kings voyage to Gascony.8 Master Painter
Gilbert Prince was employed by Edward III in 1364 to paint banners forthe funeral of Joan, Queen of Scotland9 . Joan of Arc had a painted linen
standard made while on campaign against the English10 . That is not to say
5Wescher, Flags, 2825-2826.
Lancaster, Artists, Suppliers, and Clerks, 85.
7
Staniland, Court Style, 238.
8
Harvey, Some London Painters, 304.
9
Ibid.
10
Folio Society, The Trial of Joan of Arc, 82.
6

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

29Medieval Painted Flags — A Studythat because they could be accomplished quickly painted flags were necessarily inferior in design or beauty. Painted flags could be quite handsome
given the artists skill and materials, particularly towards the end of the
14th century when painting with oils began to supercede the distemper
method.11 Whatever the reason, documented painted flags commissions,
receipts for materials, lawsuits, etc. — are abundant in the late Middle
Ages.
A search through Wardrobe accounts and Company Rolls and Records
yields some clues as to who painted flags. By the late Middle Ages mostartists had organized into Guilds of various type and name, but any skilledartists might be called upon to paint flags for duty or money.
Painters worked in the Great Wardrobe mainly [upon] decorative work
such as the emblazoning of arms and devices on banners, and the preparation of appropriate embellishments for tournaments, masquerades andother festivities.12 Painters in the royal workshops likely used a variety ofpainting techniques, including stamping. It was often cheaper and more
efficient to use dyed cloth as a colored ground, then stamp the desired
design onto the fabric. Often times the cloth be it flag, clothing, or horsetrappings – was stamped in gold or silver. Trumpet pennons provided
for the Easter celebration during Edward Is reign were stamped and ornamented with silk fringe in this way.13
It is interesting to note that the Great Wardrobe [1350-2] account uses theterm“pictorum” singularly to describe the painters involved in preparing
a quantity of very large streamers and standards for the kings ships.14
Besides painting duties, the artist as designer would also create embroidery designs the King might require for hangings, clothing, etc., andwould supervise the process and perhaps assemble the project15 . Master Hugh, previously mentioned, also painted the Kings ships as well asother flags16 . Master Thomas Kent painted a chariot for the Kings daughter Philippa in 1403 and Thomas Wryght“provided banners painted withthe arms of all the Kings of Christendom and other nobles of different
kingdoms of the world, to be placed around the hearse of Henry IV at Can11

Wescher, Flags, 2826.
Staniland, Court Style, 237.
13
Ibid., 242.
14
Ibid., 239.
15
Ibid., Embroiderers, 21.
16
See note 8.
12

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

30Medieval Painted Flags — A Study
terbury” in 141317 . Perhaps the supervisory role of the artist in the royalworkshops was formalized when the official position of Serjeant-Painterwas created in the early 16th century. In 1511 John Browne became thefirst appointed Serjeant-Painter to the king, painting anything the kingrequired, be it house, boat, coach, or flag18 .
Both royal and non-royal commissions for painted flags were in abundance. Records of the Worshipful Company of Carpenters show that
Ralph Treswell, painter-stainer and surveyor was commissioned to paintthree streamers and a banner in 1567.19 Thirty-six years later Treswell
was hired by the Clothworkers Company to make a new silk banner of
the kings arms for their use for James Is coronation20 . Mapmaker Willem
Croock painted standards for Emperor Charles Vs warships21 . Piero dellaFrancesca, renowned for his work in fresco, was contracted to create a
new standard for the Compagnia dellAnnunziata in 146622 . Shieldmakers
painted both shields and banners for the Burgundian Court23 . Armorers
also made heraldic banners, but armorer Etienne Castel preferred embroidery for decoration (1352). Indeed, the Statutes of the Paris Armorers of1364 lists three types of banners: those sewn of silk (de cousture), thosecoated with metal (de basture), and those painted in oils (de peinture)1.
In 1545 the Bruges goldsmiths guild hired panel artist Adriaen Isenbrant
to paint them a new standard24 . Agnes van den Bossche painted a new
standard for the City of Ghent around 148125 .

Technique
Its clear many painted flags were made throughout the Middle Ages. But
how were these flags painted? What methods did the artists employ?
While most arent specific to flags, instructions for painting on cloth can befound in a variety of primary sources.
17

Ibid.
Editorial, The Serjeant-Painters, 81.
19
Schofield, The London Surveys, 1.
20
Ibid.
21
ibid., 8.
22
Thomas, The Painters Practice, ch.4 p.1
23
Wescher, Flags, 2827.
24
Wilson, Workshop Patterns, 526.
25
Wolfthal, Agnes van den Bossche, 8.
18

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

31Medieval Painted Flags — A Study
Cennino Cenninis Il Libro dellArte is an invaluable 15th century resource, with several sections pertaining to painting cloth. In“A Section
Dealing with Work on Cloth,” Cennini describes in detail how to stretch
the cloth (linen or silk), size and gesso the fabric, draw on the design withcharcoal. He compares the treatment of cloth here to treatment of panel
for painting, including a coat of varnish after painting. Cennini says agood clear varnish is necessary“because sometimes these banners, which
are made for churches, get carried outdoors in the rain.” For more fluid
fabric, he has a section called“Various Ways to Do Hangings”. Here hestates to omit the gesso and varnishing. This set of instructions would
seem to be a better option for flag making, since gesso is used to stiffen
fabric and the varnish, depending on what its made out of, may do thesame thing. Cennini mentions banners in his chapter on“How To WorkIn Silk On Both Sides.” Here, the drawing is made with charcoal on bothsides of the fabric after it is stretched, and then the fabric is sized. Once
dry, gilding and/or paint tempered with egg yolk is applied, followed by acoat of varnish. Cennini says“And let this serve for ensigns, banners andall.26 ”
Giorgio Vasari gives similar instructions in the 16th Century. Vasari
instructs to prime panels or framed canvases with gesso and smooth it out.
Once ready, the design can be transferred or else drawn directly onto the
support (being canvas or panel). However, he states that if the canvases
are not intended to be stationary, gesso is not to be used because it“wouldinterfere with their flexibility, seeing that the gesso would crack if they
were rolled up.” He instead recommends the canvas be primed with amixture of white lead, walnut oil, and flour after several coats of size.
More coats of size follow the addition of the flour mixture, and the canvas
is ready for the design to be drawn in and painted with oils. While Vasari
makes no reference to banners or flags, he does elude to the mobility andconveniences of working on canvas, which is lighter of weight and can berolled up easily for transport, unlike panel27 .
In 1431 Jehan Le Begue compiled a collection of works on painting,
and within the volumes collected are more exciting clues on technique. In
the Manuscripts of Eraclius, Eraclius gives a detailed account of how tomake size from parchment, dip the cloth into it and immediately stretch
26
27

Cennini, Il Libro dellArte, 103-107.
Vasari, Vasari on Technique, 230-231, 236-237.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

32Medieval Painted Flags — A Study
it out on a panel to dry. After polishing, the cloth should be stretched
onto a frame and attached with thread. Paint distempered with size, gum,or egg can then be used28 . Alcherius in his De Coloribus Diversis Modis
Tractatur elaborates. He states that linen cloth and sindone (defined here
as a very fine linen) must be treated with size made from white chalk,
Armenian bole, and saffron, with a little bit of glue water (made fromleather or parchment clippings, as in Vasaris directions). Draw or paint,
and then polish it, and repeat the process, the third coat being sealedwith an egg white size. Alcherius is adamant that multiple layers of paintmust be added because of the absorptive quality of the fabric. Alcherius
scolds“And this flexibility and instability of the cloth or sindone can becorrected and reduced to firmness in no other way than by tenacity andviscosity of the glue laid over them for this purpose.” Hardly what one
wants to do when making flags to flap about in the breeze29 !
Straightforward instructions are to be found in the 15th Century Bolognese Manuscript. To paint on linen, one should take clean, close linen andstretch it onto a frame. Take whipped egg whites (similar to glair used forillumination), mixed in gum-water, and paint this onto the linen and let it
dry. Once dry, paint on the fabric in any manner, letting it dry. This is followed by another coat of the egg-gum wash and lastly followed by a coatof liquid varnish that will make the linen“appear like crystal.” The idea ofusing varnish on banners is appealing because it protects them from water
damage, and if the crystalline effects alluded to here are translucency, thatwould be perfect if a flag maker did not want to paint two sides of theflag.30
Its clear from these primary sources that the basic steps of cloth painting,and therefore flag painting, are as follows: stretch the fabric onto a frame,
prime the fabric with size or size and gesso, add the design to be painted,
and paint. Alternative steps are adding more layers of size after painting,and varnishing.
28

Merrifield, Medieval & Renaissance Treatises, 230.
Ibid., 260-266.
30
Ibid., 492.
29

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

33Medieval Painted Flags — A Study

Reconstruction
I have attempted to reconstruct Medieval Painted flags utilizing as many
historically authentic methods as possible with as much modern convenience as can be managed. First, I needed to determine the subject
matter for the flag. For design, I reviewed two of the best primarysources for Medieval flags — Die Burgunderbeute; Inventar der Beutestucke aus den Schalchten von Grandson, Murten und Nancy, 1476/1477
and Die“Banderia Prutenorum” das Jan Dlugosz: eine Quelle zur Schlacht
bei Tannenberg. The Burgunderbeute is a catalogue of spoils from the Burgundian War of 1476 1477 and includes many, many flags, with invaluable
descriptions and illustrations. Banderia Prutenorum shows the banners
that were captured by the Polish army during the battle at Tannenberg
against the Teutonic Order on the 15th July, 1410.
I chose St. Michael, in a gold frame, with scrollwork on a field of blue.
Once I decided on a design, I made my cartoon. Cartoons were usedgreatly in the Middle Ages. Constructed of fabric or paper, cartoons werefull-size designs that could be utilized for painting, embroidery or tapestry.
Vasari mentions them in relation to mural and panel painting31 . While mostexamples I have discovered are cartoons for tapestry, in 1384 the Flemish
painter Melchior Broederlam was commissioned by Philip the Bold of
Burgundy to make flag cartoons and flags32 . It makes sense to have a fullsize template; this helps minimize the potential for errors in transferring
the design to the fabric. My cartoon is for two standards, or auncient styleflags, 9 feet long. This measurement is consistent with the Maid of Ghent
flag painted for the city of Ghent by Agnes van den Bossche in 1481. The
standard, currently residing in the Muse de la Byloke in Ghent, measures
4 ells long33 . As this is a Netherlandish work, the ell here measures 27
inches, unlike the English ell which equals 45 inches. This means the
Ghent Standard is 108 inches, or 9 feet long.
Although medieval painted flags were made of linen, wool and silk, I
chose silk as my fabric support, because of its sheerness and flowability.
The type of silk used is 8mm (mm = momme, indicating the weight of
the fabric) Flat Crepe. Flat Crepe has a smooth, satin side. It is similar to
31

Vasari, Vasari on Technique, 215.
Wescher, Flags, 2828.
33
Wolfthal, Agnes van den Bossche, 8.

32

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34Medieval Painted Flags — A Study

Figure 1:
Habotai silk, but has a nicer weave. 8 mm is lightweight yet has enoughheaviness to give it drape.
While some banners were not two-sided (perhaps they were only meant
to be displayed against a wall or backdrop), flags meant to be flown had twosides. The Ghent flag previously mentioned has two identical sides. The
Ghent Standard is constructed of two pieces of linen canvas, painted, andsewn together34 . Indeed, Cennini mentions painting fabric that is meant
to be two sided, though his instruction would seem to indicate that it is
the same piece of fabric, since the artist is meant to place the fabric so thatthe sun shines through the drawing onto the back side35 . Another reason
I chose the 8mm Flat Crepe is that it is sheer enough that the design andcolors should show through nicely, without having to paint the backside.
At this point, a Medieval painter would stretch the fabric onto a frame,
prime and/or size it, and then transfer the design. I chose instead to transfer
my design first. Because I was going to use pencil to transfer my design, I
did not need sizing to fix charcoal to the surface of the fabric.
If the design was not to be initially drawn directly on the fabric, several
methods for transferring designs are known. Once such method is the useof tracing paper. Cennini gives instructions for making one type of tracing
paper by scraping kid parchment evenly and oiling it for translucency36 .
34

Ibid.
Cennini, Il Libro dellArte, 106.
36
Ibid., 13.
35

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Figure 2:
Alcherius gives an ingenious recipe for making tracing paper out of glue.
Grease a stone and apply layers of melted glue to it and let it dry.37 Afterwards, lift up the corners and peel it off! Vasari utilizes a carbon copy
method. Place a sheet of paper covered with black (Black what? Vasari
doesnt specify. Perhaps charcoal?) on top of the fabric and under the cartoon. Once they are stabilized, take a stylus and mark the cartoon outlines
firmly38 . Another method, used also in transferring designs onto walls,
manuscripts, and panels, is pouncing. In pouncing, the outlines of the
cartoon or design are pricked. The design is then laid over the primed
surface. A cloth bag full of charcoal dust is then“pounced” on the design,
like a series of dabs. When the perforated cartoon is removed, small dotsof charcoal remain on the surface39 . The artist can then connect the dots!
Painter Adriaen Isenbrant utilized this technique. He was sued on 16th
July 1545 by his clients, the goldsmiths guild, when he took their old standard, which he was to use as a model for the new commissioned standard,
and ruined it by pouncing. While it is unclear whether he poked holes
directly in the old standard to use it as a template, or whether he put apiece of paper on top of it and pricked both paper and flag, the fact is thatthe goldsmiths were furious at the desecration of their beloved standard40 .
37

Merrifield, Medieval & Renaissance Treatises, 292.
Vasari, Vasari on Technique, 231.
39
Wilson, Workshop Patterns, 523.
40
Ibid., 525.
38

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36Medieval Painted Flags — A Study
Using a semi-soft pencil, I traced my design onto the silk prior toframing so that I could utilize a hard surface for my tracing. The silk isvery sheer and once laid on top of the cartoon, its outlines were easy tofollow. Now it was time for framing.
Cennini says to nail the fabric onto the frame, then stretch it out withtacks41 . Eraclius states to fix the fabric to the wooden frame“with thethread42 .” I believe this to mean that there are hooks or loops on thewooden frame, and thread attached to the fabric is then laced through thehooks or loops in order to secure it to the frame, similar to some embroidery
frames. Although the method is unknown, clearly the Standard of Ghent
was stretched on a frame; stretch garlands are clearly visible at the sidesof the flag43 . I chose to use a combination of both methods. I took strips ofold cotton cloth waste fabric, – and sewed it onto the silk, making a frameof cotton cloth all the way around the silk. I then stapled the cotton clothto the wooden frame. I used waste fabric for several reasons. Firstly, itmaximized my use of the silk since the silk is not touching the frame, noneof the silk was spoiled by staple holes or by paint running along the frameand backstaining the silk. Secondly, it provided tight, even tension. The
tight, even tension helps prevent paint from pooling and possibly running
down the silk.
I chose to follow the Bolognese Manuscript instructions for sizing the
fabric. After much trial and error I created a size that worked from reconstituted whipped egg whites and a very, very small amount of egg yolk.
I omitted gum-water, because I did not have any, but hope to continue
testing once Im made a quantity. Using sponge brushes, I saturated thesilk with the egg size.
While medieval flags would be painted with watercolor, distemper
paints and oils, I chose instead to use modern dyes (I hope to conduct future
tests with medieval dyes) for several reasons. First, the dye should saturate
the fabric, eliminating the need to paint the reverse side and second, thecolors are much clearer and brighter than watercolor or opaque paints.
Opaque paints have body that will weigh the silk down, unlike the dyewhich has much less matter.
My egg size proved successful—the dye did not run or spread. Because
41

Cennini, Il Libro dellArte, 103.
Merrifield, Medieval & Renaissance Treatises, 230-232.
43
Wolfthal, Agnes van den Bossche, 8.

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37Medieval Painted Flags — A Study

Figure 3:

Figure 4:

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38Medieval Painted Flags — A Study

Figure 5:of the size, the backside of the flag is slightly less bright, the dye not havingsoaked through completely, but it still looks great in the sunlight.
As this flag is meant to fly outside, there is a matter of waterproofing
it. It would appear from our instructional guides above that varnishing was one method of waterproofing. Coating the fabric with wax may
have been another. Wax was likely a common re-waterproofing agent forlinen fenestralls (medieval window panels that covered windows in lieu ofglass), already translucent from their treatment of alum, hot sheeps fat androsin44 . Several accounts suggest that wax might have been used for waterproofing flags as well. Court accounts for Philip the Good list expenses
for flags and includes wax-candles and tallow candles45 , although there isno description of whether or not this was used on the flags. Likewise theGreat Wardrobe accounts of 1342-3 specify wax was purchased along withpigments for work on streamers and standards. The Wardrobe does say
the wax is to be used for sealing, presumably of the flags46 . While I planon testing medieval varnish recipes in the future, I chose instead to set thedyes I used in order to make the flag water-friendly if not waterproof. The
results were stunning.
44

Kightly, Barley Hall York, 26.
Wescher, Flags, 2829.
46
Staniland, Court Style, 240-241.
45

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39Medieval Painted Flags — A Study

Figure 6:

Figure 7:

Conclusion
Painted cloth in the form of flags was a large part of the overall fabric ofmedieval society and was incorporated into many important life events.
Though few examples survive, vast amounts of documentation prove theirprevalence as a form of heraldic and religious display. Painted flags could
be easily produced and can be easily reproduced in a modern setting using
fairly accurate historical methods of reconstruction.

References
1. Campbell, Colin. Medieval Flags. Edinburgh: Heraldry Society of
Scotland, n.d.

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40Medieval Painted Flags — A Study
2. Cennini, Cennino. The Craftsmans Handbook Il Libro dellArte.
Translated by Daniel V. Thompson, Jr. New York: Dover Publications, 1960.
3. Cole, Bruce. Italian Art 1250-1550. New York: Harper & Row, 1987.
4. Deuchler, Florens and Bernischen Historischen Museum in Bern. Die
Burgunderbeute; Inventar der Beutestcke aus den Schlachten vonGrandson, Murten und Nancy, 1476/1477. Bern: Stmpfli, 1963.
5. Eckdahl, Sven. Die“Banderia Prutenorum” das Jan Dlugosz: eine
Quelle zur Schlacht bei Tannenberg. [Poland]: Vandenhoeck und
Ruprecht, 1976.
6. Editor.“The Serjeant-Painters.” The Burlington Magazine for Connoisseurs, Vol. 84, No. 493. (April 1944): 80-82.
7. Evans, Joan. English Art, 1307-1461. Oxford: Clarendon Press, 1949.
8. The Folio Society. The Trial of Joan of Arc. Translated by W.S. Scott.
London: The Folio Society, 1956.
9. Friar, Stephen. The Sutton Companion to Heraldry. Gloucestershire:
Sutton Publishing, 2004.
10. Harvey, John H.“Some London Painters of the 14th and 15th Centuries.” The Burlington Magazine for Connoisseurs, Vol. 89, No.
536. (November 1947): 303-305.
11. Hoch, Adrian S.“Pictures of Penitence from a Trecento Neapolitan
Nunnery.” Zeitschrift fr Kunstgeschichte, 61 Bd., H. 2. (1998): 206226.
12. Kightly, Charles. Barley Hall York. York, York: Barley Hall Trust,n.d.
13. Lancaster, R. Kent.“Artists, Suppliers and Clerks: The Human Factors in the Art Patronage of King Henry III.” Journal of the Warburg
and Courtauld Institutes, Vol. 35. (1972): 81-107.

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41Medieval Painted Flags — A Study
14. Meiss, Millard.“An Early Altarpiece from the Cathedral of Florence.”
The Metropolitan Museum of Art Bulletin, New Series, Vol. 12, No.
10. (June 1954): 302-317.
15. Merrifield, Mary P. Medieval and Renaissance Treatises on the Artsof Painting. Mineola, NY: Dover Publications, 1967.
16. Schofield, ed. The London Surveys of Ralph Treswell. London:
London Topographical Society, 1987.
17. Staniland, Kay.“Court Style, Painters, and the Great Wardrobe.” England in the 14th Century: Proceedings of the 1985 Harlaxton Symposium. Dover, NH: Boydell Press, 1986.
18. . Embroiderers. Toronto; Buffalo: University of Toronto Press, 1991.
19. Thomas, Anabel. The Painters Practice in Renaissance Tuscany.
Cambridge [England]; New York: Cambridge University Press 1995.
20. Vasari, Giorgio. Vasari On Technique. Translated by Louisa A. Maclehose. Mineola, NY: Dover Publications, 1960.
21. Vale, Malcolm.“A Burgundian Funeral Ceremony: Olivier de laMarche and the Obsequies of Adolf of Cleves, Lord of Ravenstein.”
The English Historical Review, Vol. 111, No. 443. (September 1996):
920-938.
22. Van Duyse, Hermann.“tendard Militaire du XVe Sicle.” Inventaire
Archologique de Gand, Tome I. (September 1897)
23. Villers, Caroline, ed. The Fabric of Images: European Paintings On
Textile Supports In the Fourteenth and Fifteenth Centuries. London:
Archetype Publications, 2000.
24. .“Paintings on Canvas in Fourteenth Century Italy.” Zeitschrift fr
Kunstgeschichte, 58 Bd., H. 3. (1995): 338-358.
25. Wescher, H.“Flags.” Ciba Review 77 (December 1949): 2806-2830.
26. Wilson, Jean C.“Workshop Patterns and the Production of Paintingsin Sixteenth-Century Bruges.” The Burlington Magazine, Vol. 132,
No. 1049. (August 1990): 523-527.
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42Medieval Painted Flags — A Study
27. Wolfthal, Diane.“Agnes van den Bossche: Early Netherlandish Painter.”
Womans Art Journal, Vol. 6, No. 1. (Spring Summer, 1985): 8-11.

About the Author
Rebecca Mary Robynson hails from a wealthy merchant family in 15th Century
London where she learned the arts of the Painter-Stainer from her father before
being married to a charming, penniless young nobleman from York where she
now resides as Baroness of Aston Hall.
Shannon Miller is a devoted wife, daughter, and pet owner who enjoys far too
many expensive and time-consuming hobbies.

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The Weldisshe Grant of Arms Copy
Ian C. McIntosh (Lachlan of Cromarty)

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The Weldisshe Grant of Arms Copy

Introduction
Recently, I had the pleasure of stumbling upon a stunning example ofheraldic art right here in Southern California. It was displayed, quite without warning or fanfare, at a gathering of the Society of Creative Anachronism, and it created quite a stir.
The document on display was a seventeenth century copy of a sixteenth
century grant of arms, and it is in very good condition.
Being a copy may make it less than a perfect exemplar, but it represents an excellent opportunity for the scribes and heralds of the Society
who likely have seen only small photographs of documents of this sort invarious heraldic volumes. It gives us a strong impression of what a period
grant of arms actually looked like. It allows us to clearly read the text
with unaided eyes. It makes us feel like we are bearing witness to heraldic
history.
In this article, I intend to describe the Weldisshe Grant of Arms Copy in
sufficient detail that a scribe can create a Society arms-granting document
modeled after it. Calligraphers may find this article useful as both an
exemplar of a period hand, and also exemplars of period spelling andphraseology. Illuminators can gain inspiration from the heraldic art andminiature. Heralds can learn about how period heralds styled themselvesand did their business.
The document is owned by a kind lady in Southern California; a giftfrom her loving father. I thank them both for allowing me access to it that
I could write this article.

Historical Notes
Unfortunately, little is currently known of the provenance of this particularpiece of parchment. The original is dated March 19, in the thirty-fourthyear of the reign of Henry VIII (1542/3). It was copied sometime within acentury of this date, as is suggested by the hand.
The grantee was William Weldisshe of Lynton (modernly ”Linton”1 )1.”Linton is a village and civil parish in the Maidstone District of Kent, England. The
parish is located on the southward slope of the Greensand ridge, south of Maidstone on
the A229 Hastings road.” Wikipedia (see Linton, Kent http://en.wikipedia.org/wiki/
Linton,_Kent).

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The Weldisshe Grant of Arms Copyin the County of Kent. According to the College of Heralds in London,
this branch of the family had died out though the surname is found in
Middlesex in 1634 and in Herefordshire in 16832 .
The letter was written by Christopher Barker, who was Garter King ofArms from 1536 until his death in January 1550. He was the sixth herald
to be created Garter.3

Physical Description
The document is on a sheet of parchment measuring 556 mm x 501 mm. The
edges show some wear and discoloration from handling. Some wrinklingextends from the edges through the decoration. There is a fold verticallythrough the center of the parchment indicating where the document had
been folded and stored closed at some time in the past.

Front of document
The document features a facsimile of the original Grant of Arms including
the outline of its dimensions: 527 mm wide, 278 mm tall with an additional
36 mm fold at the bottom and dependant seals.
The decoration is executed in ink, gouache and shell gold.

Rear of document
Areas painted blue, green or silver are clearly visible from the rear of the
document due to the paint staining the parchment all the way through.
In the lower right-hand corner, there is a note in an eighteenth or
nineteenth century hand which reads:
This grant is mentionedin Edmondson’s Heraldry42This information was supplied by an officer of the College of Arms in correspondencewith the owner of the Weldisshe Grant Copy. She, in turn, relayed the information to me.
3
Information from “On Some Garter-King-at-Arms” by John Alt Porter (from The
Antiquary: A Magazine Devoted to the Study of the Past, Volume XVI, p.6 1887.)
4
I assume this refers to A Complete Body of Heraldry by Joseph Edmondson publishedin 1780. I know of no-one who has access to this volume in order to verify the veracity ofthis note or know what is said of this grant.

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The Weldisshe Grant of Arms Copy
Rd. Almack
Melford
There is also a faint note in pencil written vertically along the right-handedge which reads, “Ba... Young Young.”

Decoration
As this is a facsimile, the shape of the features original document are all
drawn in ink and shaded with an ink wash. These details include thefollowing:• Original document top, left and right ”edges” measuring 527 mm x
278 mm.
• A ”folded section” along the bottom measuring 36 mm tall with dogears at left and right. This type of folding was employed to ensurethat the document could not be amended after it had been sealed.
• Two ”strips of parchment” (likely cut from the bottom of the original
document’s parchment, or may have been made of ribbon) whichappear looped through slits in the folded portion of the document
then hang down some 170 mm to hold the seals and end in random
loops.
• Two ”seals” each measuring 65 mm in diameter. These seals are
painted in red paint. The left seal has a sketch, in ink, of the armsof the Garter King of Arms, Argent, a cross gules and in canton a doveazure, the dexter wing expanded and inverted, on a chief gules, a crownwithin a garter buckled in annulo between a lion passant and a fleur-de-lys
all or. The right seal has a sketch of the arms of Christopher Barker,
Quarterly 1st and 4th, argent, three bear’s heads erased gules, muled or,
and in chief three torteaux, 2nd and 3rd, (tinctures unknown) on a chevron
between three birds close three etoiles (or mullets of six points).55John Alt Porter’s article “On Some Garter-King-at-Arms” tells us Christopher Barker’s
arms consisted only of a single coat, the one with bear’s heads and torteaux. It makes nomention of the arms in the 2nd and 3rd quarters. Perhaps these are the arms of one of Sir
Christopher’s three wives.

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The Weldisshe Grant of Arms Copy

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The Weldisshe Grant of Arms Copy
The remainder of the decoration is a facsimile of the decoration on theoriginal grant. The decoration appears to be quite typical of that seen in
grants of arms of the mid sixteenth century. It appears that the artist madegreat pains to copy the decoration exactly.
This decoration is executed in ink, paint and shell gold. It is reasonable
to assume that the original document may have used gold leaf, but shellgold was substituted when the copy was made for sake of economy.
Along the left, top and right edges of the document are borders which
extend out to the edges of the original document and disappear below thefold at the bottom. The left edge of the border is 116 mm wide. The top of
the border is 43 mm tall. The right edge of the border is 40 mm wide.
The border has an ink line separating it from the text compartment. The
entire border is powdered with tiny circles in ink and quatrefoils composedof a dot of gold surrounded by four blue dots.
The left border is dominated by the achievement of arms of the granteewith shield, helm, crest and elaborate, tasseled mantling. The arms depicted are Vert, three running hounds argent goutty sable and on a chief or a fox
passant gules. The crest, set upon a silver helmet, is a demi-fox erased gules
goutty argent. The mantling is gules doubled argent with gold tassels at theends. The silver areas have all tarnished black. The green field is quite
washed-out and appears nearly blue. The red and gold areas stand out
quite clearly. The achievement is surrounded by acanthus leaf decorations
above and to the left and right of the crest. Below the achievement is a rosebush growing up from a green mound with “naturalistic” blossoms of red
and white.
The top border features a Tudor rose
(three rows of petals alternating red, white,
red, with gold seeds and green leaves) between two golden fleurs-de-lis. Between andaround these badges are acanthus leaf andfloral motifs in white, blue, green and red.
The right border is decorated with moreacanthus leaf and floral motifs.
The text begins with an historiated initial
T. The letter itself is of shell gold with a rectangular background (66 mm x 81 mm) whichis quarterly blue and red and diapered withwhite. Within the oval shape of the T is a
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The Weldisshe Grant of Arms Copy
miniature of Christopher Barker as Garter King of Arms wearing red hose,
black “cow mouth” shoes, a long, beige, fur-lined coat, heraldic tabard
and crown. Upon the front of the tabard are the arms of the Sovereign,
quarterly France (Azure, three fleurs-de-lis Or) and England (Gules, in pale
three lions passant guardant Or). The sleeves of the tabard have the arms ofFrance impaled with the arms of England, such that only one component
coat is visible on each sleeve. The herald’s left arm is upraised towards the
beginning of the text, the right arm is lowered and holding a white baton
which extends out of the frame of the letter in the general direction of the
depiction of the arms being granted.

ScriptThe script is executed in a fairly restrained batarde hand. The ink is darkbrown. The end of the text (lines twenty-three through twenty-seven)appears significantly lighter than the rest.
The ruling is in graphite, each line 8 mm tall. The ruling is clearlyvisible at the extreme left and right edges of the text compartment, but only
occasionally and faintly visible through the middle of the compartment.
No evidence of pricking is visible.
Majuscule letters (used quite liberally and inconsistently) sit slightly
below the baseline and stand approximately 5 mm tall.
The miniscule letters sit directly upon the baseline. Letters without
ascenders reach approximately 3 mm above the baseline. Ascenders on
letters b, d, f, h, k, l, long-s, and t reach approximately 5 mm above thebaseline. Descenders on letters f, g, h, j, p, q, long-s, and x extend somedistance below the baseline and often touch letters in the line below. Dotsover minuscule letters i and j are small, round and show no sign of pen
angle or stroke direction.
Other notes on hand: The initial C in “Christofer” is slightly more”grand” than the other majuscules. Majuscule L and R are very similar
with only a minor difference in the shape of the vertical bar. Minuscule x
has an unusual shape with a descender.

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The Weldisshe Grant of Arms Copy

Text
It is possible that this text was modernized or otherwise altered upon transcription from the original document to this copy. It would be impossible
for me to say without being able to examine both documents. The syntax
and spelling are consistent with other examples of Christopher Barker’s
letters patent found in A Collection of Miscellaneous Grants of Arms,
Crests and Confirmations and other sources.6
6Specifically, GACC Vol.I, pp. 4, 11-12, 77-78 and Vol.II, p.125, plus Life of the Lerned
Sir Thomas Smith, Kt.D.C.L, Principal Secretary of State to King Edward the Sixth, andQueen Elizabeth by John Strype, Clarendon Press, Oxford 1820 (Appendix I, p.181-183).

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The Weldisshe Grant of Arms Copy

Transcription of Text
To all Present and to come whiche these presents letters shall See Redor here I Christofer Barker Esquier Ałs7 Garter Principall Kinge of Armes
Englishmen Sendith due humble Recomendacion and gretyng Equite willeth and Reason ordeignethe that men vertuouse and of Com̃endable8
Disposicion and lyving be by their merytes Renonned9 and rewarded intheir Parsons in this mortall lyfe so briefe and Transitorye And to be inevery place of honnour before other evermore Reputed and taken whith
ther noble men of Name and of Armes by sheweng of Signes and tokens
of Vertue honor And Gentilnes10 That ye11 to say a Schochon12 with helme
and crest with tokens of honnour tothentent13 that by ther Enample14 othershall the more Enforce them to use theire lyffee in honorable Werks andvertuous Dedes for to purchase and gette Renome15 of Auncient noblesse
And theire I the saide Garter principall king of Iiglishe men not onely
by Comen Renome but also by my owne knowledge and by the Reporteof other Credible and noble psons16 am Verely enformed and Aduertised
7”ł” here represents an l with a horizontal stroke through it. “Ałs” is a common
abbreviation for “alias”.
8”m̃” here represents an m with a horizontal, curved stroke above.
9
Throughout the document, the word “renown” is spelled in the 15th C. spelling“renome,” (om represents a curved stroke over the “om”). (see CEOED p.2490, Renome,
Renomee). Here, however, it appears to be mis-spelled with double-n rather than m (orpossibly an m with one too many strokes).
10
In the sense of “The state or condition of being gentle in respect of birth or social
position.” (CEOED p.1132, Gentleness)
11
Spelling is current. I would expect ’ys’ (“is”) here, but clearly the second letter is an“e”. This may be a transcription error when the document was copied.
12
Aphetic spelling of “Escutcheon” (CEOED p.2689, Scutcheon).
13
The words here given as “tothentent” are run together in the original text. This should
read “to the entent”. The grant of Arms to Thomas Knight by Christopher Barker, Garter
dated 8 April 1546 (GAC&C Vol.II, p.125) reads “To the entente that by theire Insaumple”“Entente” is an obsolete spelling of “Intent”. “The form with in- is rare before 1400, while
en- is rarely found after 1550. They were equally common c 1500.” (CEOED p.1458,
Intent)14“A precedent which may be followed or imitated: a pattern or model of conduct.”(CEOED p.872, Ensample). An obsolete spelling of “example”.
15
see note916“p” here represents “p” with a horizontal stroke through the descender. This is acommon abbreviation of “per”.

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that Wiłłm17 Weldisshe of Lynton18 In the Countie of Kent hathe longe
contynewed in vertue and in all his Dedes and all other His Demeaning19
hathe well Saddely20 and Honnorably guyded and gouerned him so thatthat he hathe Deserued and ys well wourthy from hensforthe euermore tobee in all placs of woursshipp admytted Renomed accompted21 nombred
accepted and Receued in to the nowmbre and of the Company of otherayntient gentill and noble men / And for the Rememberaunce of the same
his vertue gentilnesse and habilite22 and by vertue and power to myn office of Principall Kinge of Armes Annexed and attributed haue Deuised
ordeined23 and assigned unto the saide wiłłm weldisshe and his Posteritewith their Due Difference and Schochon with helme & crest with tokens ofhonour herafter ffollowinge That is to witt Vert iij Rouning24 hounds Argent gouted Asure The Chefe golde A ffoxe passant gouls upon his Cresta Dymie25 ffoxe Rased26 gouls gouted Argent Sett upon A wrethe Argent
17“William” here is abbreviated by a single horizontal stroke through both l’s.
The initial letter “L” closely resembles the “R” in “Reason,” and this is the only
capital “L” in the document. It is possible that the copyist accidentally wrote “Rynton”,
but “Lynton” is certainly the correct spelling. The Harvard Law School has in theirlibrary a deed dated 1545 (Feb 15. 36 Henry VIII) from “William Weldishe of Lynton in
the county of Kent” (http://www.law.harvard.edu/library/collections/special/manuscripts/deeds/deeds7.php Deeds 524). Given the name, county and date (only
two years after the Weldisshe Grant’s date) it seems likely this is the same gentleman.
19“Conduct, behaviour, demeanour.” (CEOED p.681, Demeaning).
20
Here as in “Orderly and regular in life; of trustworthy character and judgment; grave,
serious.” (CEOED p.2617, Sad)
21
An archaic spelling of “accounted.” (CEOED p.16, Account)22
An archaic spelling of “ability” (CEOED p.5, Ability)
23
Here as in “To assign (to any one) as a share, portion, or allowance.” (CEOED p.2004,
Ordain)24This is a difficult word to read. It could also be “Rounnig.” There are two dots, as
though there are two i’s, but this would leave a meaningless stroke between them. My
best guess here is that this is intended to mean, “running.”
25
Here, there is no dot over the “i”. Based upon context, this must be “demi” in thesense of “In Heraldry. etc, indicating the half-length figure of a man or animal, or the halfof a charge or bearing”, though the Oxford English Dictionary does not list this spelling.
(CEOED p.682, Demi)
26
Judging primarily from the emblazon in the margin, this must be an aphetic spellingof “erased” as in “Her ... Of the head, body, or other part of an animal: Represented witha jagged edge, as if torn violently off.” Again, this spelling is not listed. (CEOED p.889,
Erased)18

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The Weldisshe Grant of Arms Copy
& Sable Mantells gouls lyned Siluer Bottonett27 golde as more planely
appereth in this margent to haue & to hold unto the saide Wiłłm weldisshe& his posterite for euermore & therin to be uested at theire Pleasours In
wittnesse wher of I the saide Gartier Principall King of Armes haue Signed
these presents with myne owne hand And haue Sett therto the Sealle of
my Office & also the Seall of myne Armes yeuen at london the xix Daye ofMarche in the yere of oure lord god a thousand 5 hundreth ffourty & 2 andof the Reign of oure soueraigne lorde Kyng Henry the viiith by the graceof god Kyng of England of ffraunce & Ierland Defensor of the ffeith and in
the erthe under god of the churches of Englande & Ierlande Supreme hedd
the xxxiiij yere :∼CB als gartier28

References
1. Littledale, W.A. (editor) ”A Collection of Miscellaneous Grants, Crests,
Confirmations, Augmentations and Exemplifications of Arms in the
MSS. Preserved in the British Museum, Ashmolean Library, Queen’s
College, Oxford, and Elsewhere”. The Publications of the HarleianSociety Vol LXXVI and LXXVII. London, 1925-6. [GACC]
2. Oxford University Press. The Compact Edition of the Oxford English
Dictionary. Oxford University Press, Oxford, England, etc. (Nineteenth printing, 1980) [CEOED]
3. Porter, John Alt ”On some Garter-King-at-Arms”. The Antiquary: A
Magazine Devoted to the Study of the Past, Volume XVI, 1887.
4. Strype, John. Life of the Lerned Sir Thomas Smith, Kt.D.C.L, Principal
Secretary of State to King Edward the Sixth, and Queen Elizabeth.
Clarendon Press, Oxford. 1820.
5. Wikipedia. http://www.wikipedia.org/
27“Buttoned”. This refers to the gold tassels hanging from the mantling. In other grants
by Christopher Barker, this word is spelled “buttoned” (GAC&C Vol.I, p.4), “bottoned”(ibid, p.12), “Botoned” (ibid, p.78) and “Bottonett.” (GAC&C Vol.II, p.125) The Oxford
English Dictionary does not attest to this meaning or spelling.
28
The signature is written in a different hand with a flourish that trails down beneaththe fold at the bottom of the original document, probably to indicate that the document
was signed prior to being sealed.

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The Weldisshe Grant of Arms Copy

About the Author
Lachlan of Cromarty (alias Crescent Principal Herald of Caid) is a Scot frontiersman, a sailor and a fisherman.
Ian McIntosh is an art director and game designer specializing in mobile phone
and handheld videogames.

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The proper care & feeding ofDrolleries
Grotesques in Late 15th Century Flemish
Manuscripts
Maeva Eiriksdottir
Introduction
From naughty to notorious, armed to amorous, beautiful to boisterous the fantastic life forms in the margins never fail to pique our curiosity or
to simply amuse us with their antics and caricature. Sooner or later we all
discover them: hidden in the creative chaos of floral borders, they growever so elegantly from blooming vines, watch the inhabitants of capitals
and miniatures with swords brandished and bows strung or hold a mirror
before our eyes with the mockery of our own habits and quirks and as representatives of the chaos outside the borders of medieval rule, tantalizing
suggestion of unknown worlds and unthinkable dangers lurking along
unfamiliar paths.
Drolleries, also called Grotesques, are miniature decorative illustrations
which adorn the margins of illuminated manuscripts, often depicting fanciful or grotesque hybrid creatures. Their popularity lasted from the early
13th century to the end of the 15th century. They appear as mixed creatures, either between different animals or between animals and humanbeings, or even between animals and plants or inorganic things.
Some of them are reminiscent of the surrealistic creations of Hieronymus Bosch. There are birds with human heads, dragons with demon heads uncurling froma snail’s shell, archers growing out of rosebuds andmany more. A variation of the grotesques are monkeys
mimicking human habits and behavior. More on thatin “breeds”.

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The proper care & feeding of Drolleries
For me, it all started with the “Croy Hours”, also
referred to as the “Book of Drolleries” for its many fantastic inhabitants.
Created by several great masters of the Ghent-Bruges School namely Gerard Horenbout, Gerard David and Simon Bening it marked the end of theera of Flemish grotesques at the beginning of the 16th century. Backtracking through numerous Flemish illuminated manuscripts, it appears thatthe main lifespan of our fantastic friends only lasted about 50 years, fromthe early 1450s to the late 1490s. This class will guide you through the various breeds of grotesques that I have so far encountered and their natural
habitat, as well as give you an easy to follow manual to create your own
fantastic lifeforms in accordance with the Flemish School of manuscript
illumination. Enjoy!

Natural Habitat
What is now Northern France and Belgium was wealthy Flanders with her
artistic centers Bruges and Ghent in the 15th century. Rich through trade,
Flanders was also known for its patronage of the arts and especially manuscript illuminations. Flemish illuminators introduced into their works apainterly mastery of light, texture and space and displayed an unsurpassed
naturalism in their miniatures, bridging both eras of medieval tradition andmodern times. In this class we will be focusing on the illumination of themargins, as that is the natural habit of the grotesques. There are two typesof decorated borders that house not only fantastic lifeforms but also lateron birds and insects.
Evolving from the leafed borders of French influence is the foliage
border characterized by free form acanthus leaves, flowered or leafed vinesinterspersed with strawberries etc. Typical for the Flemish School is thepreference of predominantly blue acanthus leaves and either red or gold
undersides.
By the late 1460s/ early 1470s the almost old fashioned foliage border style was slowly replaced by thetrompe l’oeil of realistic flowers [cornflower, carnations,roses, lilies, etc.] strewn across the borders, also referred to as “strewn flower border” or “squashed bug
borders”.
It is in the old fashioned foliage border where we
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The proper care & feeding of Drolleriesfind most of the grotesques whereas the trompe l’oeilborders offer a home to monkeys dabbling in humanaffairs.

BreedsGrotesques come in a wide variety of hybrid forms combining human,
animal, organic and even inorganic elements into one fantastic lifeform.
Typical for the Flemish School grotesques appear to be the following:
Flower children a human torso and usually human head growing fromsplit acanthus leaves or flower buds
Animal hybrids sporting lion, bear, bird or cloven hoof feet, these are generally humanoid creatures bearing weapons or musical instruments.
Might also be demon- or bird-headed
Dragons 2-footed and no claws, these charmingly fierce dragons get aroundwith wings or house in a snail’s shell. Occasionally demon headed.
Monkey business At home in strewn flower borders, humanoid but furrymonkeys dress up in bits of human clothes [hoods, wimple, etc. butnever full dresses and shoes] and mimic or mock human activities.

Plug’n’Play
Create your own grotesque by following this simple table. Pick a base, acenter and a head and add accessories and have fun! For SCA purposes,
you can easily dress your grotesques in an outfit that is usually worn by
the award recipient, color in livery colors, etc. and instead of holding the
traditional items such as a harp or a weapon you can let your grotesquehold something that represents the award or the recipient of the award
writ you are preparing!

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The proper care & feeding of Drolleriesbasecenterhead

accessories

peacock

Female nude

Female head

Hair down,
Hennin4-legged Lion
2-legged Bear
2-legged Bird
2-legged ClovenfootFlower bud

Female dressedMaledressed/Armor
Animal body

female head
Bird’s head
Male head
Demon’s head

Nothing or harp
Nothing
Nothing
Nothing or
weaponNothing

2-legged
DragonDragonSnail’s shell

Bird’s head
Dragon’s head
Demon’s head

Wings
Wings
No wings withsnail shell

Note: Men and women or the parts of a grotesquethat are recognizably female or male are always properly dressed and if they sport a human head do always
wear a proper head covering matching the general outfit. The only exception is the female nude who wears herhair open and long [occasionally with a hennin or truncatedhenning, but long and flowing nevertheless]!
Note: For later, i.e. early 16th century style grotesques, you can add
inorganic items such as teakettles, mugs, boots, etc. as body parts, usually
the base part of the creature.

References
1. Michelle P. Brown (1994), Understanding Illuminated Manuscripts:
A Guide to Technical Terms, ISBN 0-89236-217-0
2. Scot McKendrick (2003), Flemish Illuminated Manuscripts 1400-1550,
ISBN 0-7123-4805-0
3. Celia Fisher (2004), Flowers in Medieval Manuscripts, ISBN 0-80203796-8

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The proper care & feeding of Drolleries
4. Michael Camilla (2004), Image on the edge: The Margins of Medieval
Art, ISBN 0948462280

Example Manuscripts:• Hours of Jacques de Bregilles, Bruges, 1460s MS4• L’instruction d’un jeune prince, Bruges 1465, MS Vespasian• Bible historiale of Edward IV, Bruges 1479, MS 18• Chemin de vaillance, Bruges 1480s, Royal MS 14• Recueil des croniques et anciennes istoire de la Grant Bretaigne,
Bruges 1480s, Royal MS 15• Fortalitum Fidei, Bruges 1480s, Royal MS 17• The Croy Hours, Bruges, early 16th century, MS 1858

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A Witch’s Kitchen
A brief introduction into medieval materials forthe beginning scribe
Michaela Gibbons (Maeva Eiriksdottir)
Introduction
Craft and art supply stores are modern conveniences for today’s illuminators and calligraphers and many a medieval counterpart would haveenjoyed being able to simply go out and buy ready made supplies needed
for their work. Paper, parchment, paints, gold leaf all those tools andmaterials needed to be prepared in advance and required professional
knowledge, skill, time and of course, money, and it was unusual to find all
those combined in one person. In early medieval times only monasteries
had the financial power and workforce to produce extraordinary books;
later, professional scribes would acquire their supplies from equally professional vendors of pigments, parchment, gold leaf, etc.
However, the preparation of some materials for calligraphy and illumination remained in the hands of the medieval scribes or his apprentice
before he could set to work. This article is a very brief introduction into
the mysterious world of medieval materials for calligraphy and illumination. It is by no means complete but I’m hoping it will provide you withsome basic information and encourage you to at least give it a try. Embark
on the adventure that is mixing your own paints, cooking up your very
own medieval ink and learn more about the wonderful attributes of realparchment. And above all, have fun and make stuff!

On parchment and paper
Parchment was the preferred work surface of the medieval scribe. Whilepapyrus dropped out of use by the 9th century replaced by the sturdy
parchment made from animal skin [mainly calf, sheep and goat], paper
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A Witch’s Kitchen
wasn’t used much before the invention of the printing press and the mechanized bookprint in the 15th century.
Making parchment is a time consuming and slightly unappetizing effort. Simplified, the steps are• soaking the hide in water to clean it• 1st lime bath• 1st rinse to remove the lime
• dehairing of the hide with a sickle-shaped knife• 2nd lime bath• 2nd rinse• stretching on a frame with rope and wooden pegs
• scraping to remove remaining bits of flesh and hairs• drying• pouncing, i.e., rubbing pumice over the skin to even out irregularities
and remove oil, preparing the parchment for writing
Medieval paper was thought of as rather insignificant as you can tell by
a 1480s ruling of the University of Cambridge stipulating that only books
written on parchment were acceptable as security for loans. The papermill
Fabriano in Italy still manufactures a paper that is based on a 15th century
recipe.
Paper in the Middle Ages was made from linen rags soaked in waterand beaten until theyr disintegrated into a runny pulp which was thenscooped up as a thin laer with a wire-frame and placed on a layer of felt todry. After drying it would be dipped into a bath of animal glue to size it
so the ink would not soak into the fibres causing the dreaded spider effect.
Some italian papers were polished afterward to achieve a luxurious glossy
finish.
Parchment reacts and acts very different from paper but it is also very
forgiving unless your names are water and grease. Ink and paint blotches
can be wiped and/or scraped off with a sharp knife in medieval fashion
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A Witch’s Kitchen
because paints and inks do not sink into the fibres like they do on paper
but rather dry on top. Give your inks and paints a bit more drying timeto avoid unexpected smudges ! Use as little water with your paints as
possible or else your parchment will cockle and buckle up ! Some art
supply stores offer scrap pieces of parchment or drum skins [which arebasically very crude parchment] very inexpensively and they make greatpractice pieces. Try it, play with. This is a great way to loose the fear ofusing parchment for an actual scroll or other projects.

On cutting quills
From about 800AD until 1800AD the predominant writing utensil was thequill cut either from reed or from feathers. Throughout time various breedsof birds werexs used to supply the feathers including duck, goose, swan
and pheasant. Bamboo and reed or any other kind of plant providing ahollow or tubular stem that is reasonably firm are suitable for cutting quills
as well.
Before you cut a quill from a feather you need to cure the feather byeither letting it dry for about 6 weeks after plucking it, microwave it for
about a minute or by ’boiling’ it in hot sand.This will make the quill morerobust and harden the structure. Trim off the plume since it will only get
into your way.
Cut the nib of your quill by cutting horizontally across the root. Clean
out the matter inside the quill, then make two diagonal cuts that come toan apex at the point of the quill. Carefully slit the centre of the point tocreate the reservoir of your quill.If your quill’s nib is not slitted the ink
will not flow properly and writing becomes almost impossible. Youcan
now determine the width of the nib by trimming the sides carefully tothe desired width carefully shaving off the excess. The last step is to givethe nib of your quill a clean edge with a last straight cut. Cutting quills
takes practice and a medieval scribe’s apprentice would have had plentyof opportunity to practice cuttiing quills so don’t despair if your first quill
doesn’t turn out right and try it again !

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A Witch’s Kitchen

Figure 1: Cutting Quills

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A Witch’s Kitchen

On making ink
The word “ink” is derived from the latin word encaustum [burnt in] since
the gallic and tannic acids in medieval inks and their oxidation cause it toburn into the writing surface. Over time it burns itself into the parchment
so deep it will actually damage or even destroy it. The basic ingredientsof medieval ink were a coloring agents [tannins from oak galls or evenwalnut husks] mixed with a binder similarly to paint. Ink was used forwriting as well as for drawing and ruling and when diluted with water
could also be applied as a wash with a brush.

Inks
One of the most commonly used inks in the medieval time period was
oak gall ink so named for the oak galls used in the recipe. Oak galls arerich in tannin and gallic acid. It is the oxidation of the tannin and thegallic acid in combination with ferrous sulfate that creates the blackness of
the ink. Oakgall ink will at first look greyish when applied to paper andwill slowly darken to a nice rich black. The lately discovered Gospel ofJudas revealed the missing link in ink history : an ink that contains bothingredients tanin-gallic acids and soot.
Recipe I : iron oak gall ink
Boil oak galls in water and add ferrous sulfate [rust] to the mixture and let
it simmer. Strain the liquid into a separate container and add gum arabic
until it is no longer runny like water. Adding eggshells to lower the phrating is recommended. This recipe also works with walnut husks.
Recipe II : ink from sootThe original recipe does not give any measurements. It simply calls for thefollowing: Take soot and mix with gum [arabic] and a drop of honey or
two until proper [consistency]. You can substitute soot for finely groundcharcoal.

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A Witch’s Kitchen

On making paints
To make paints the medieval illuminator needed pigments for the color
and a binder to literally glue the paint to the work surface. On parchment
and for books, only fat free binders such as glair [egg white] and gum
arabic were used, while other paintings and icons saw the use of egg yolk
as well.

Binderglair whip egg white to a firm froth, then let it sit. Strain the liquid thatcollects at the bottom of the bowl into a separate container and keep inthe refridgerator. A drop of clove oil might keep mold from growing
on your glair but I have found that even if the glair grows mold it
works perfectly fine after removing the growth.
Gum arabic take gum arabic crystals and disolve in hot water. Strain into
a separate container through a fine mesh [nylon stocking work great]
to remove impurities [since gum arabic is dried tree sap it might
contain dirt, insects, etc.]
egg yolk break the egg and separate egg white from egg yolk. Carefully
hold the egg yolk in one hand and try to gently pinch the yolk sackwith the fingers of your other hand. Pour the yolk into a container
careful not to add any egg white. This needs to be used fast as it
cannot be reconstituted when dried.

Pigments
Pigments are the coloring agents for paints and can be gained from avariety of materials such as minerals, soil, chalk, animal matter and plants.
To prepare pigments that are not plant juices or other liquid solutions
already for paint the pigment would have to be ground into a fine powder
with a muller on a slab of marble. You would then mix some distilledwater with the pigments and continue to grind it until you get a pigment
paste. This paste would then be mixed with the chosen binder to makeactual paint. The mixture needed to be carefully balanced because toomuch binder would cause the paint to be sticky and glue pages together
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A Witch’s Kitchenor not dry at all, too little binder and the paint would crackle and peel
off the parchment of paper. The proper mixing of paints requires quite a
bit of practice and experience, however, a tiny amount of pigment once
mixed up yields an amazing amount of paint so unless you are using
expensive pigments practicing and/or a binder that can’t be reconstituted
it is a forgiving exercise that won’t break the bank.
Following is a brief list of pigments used in medieval illumination andtheir source :Pigments from minerals, etc. Clay, (shades of brown), chalk (whites andgreys), ockre (shades of yellow to dark brown), lapislazuli (shades ofblue), auripigment (yellow gold), azurit (pale blue), malachit (green),etc.
Pigments from chemical reactions lead (white), minium (red-orange), verdigris (shades of yellow-green to brilliant turquoise), zinnober (red)Pigments from plants saffron (yellow), folium (red to purple), woad andindigo (blue), various plant saps for green and yellow for example
parsley, cabbage, leeks, onions, etc.
Pigments from animal matter purple from the purpur snail Murex Brandaris or Murex Trunculus, vermiculum from drie Kermes lice mixed
with alum, gall for a light but brilliant yellow usually in combination
with saffron or auripigment

References
1. De Hamel, Christopher. A History of Illuminated Manuscripts. London: Phiadon Press Ltd, 1994.
2. Eusman, Elmer. “The Ink Corrosion site” [http://www.knaw.nl/
ecpa/ink/html/ink.html] last date accessed : 05/03/2005
3. Thompson, Daniel V. The Materials and Techniques of Medieval
Painting. New York: Dover Publications, 1956.
4. Theophilus. On Diverse Arts: The Foremost Medieval Treatise on
Painting, Glass Making and Metal Work. Translated by John G.
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A Witch’s Kitchen
Hawthorne and Cyril Stanley Smith. New York: Dover Publications,1979.
5. Alfred Czech. In mittelalterlichen Schreibstaetten. Muenchen, MPZ
Muenchen, 1999.

About the Author
Maeva Eiriksdottir is a 9th century merchant’s wife from Hedeby with a penchantfor glass beads and illuminated books. She has set aside the rune stitcks in favorof quill and ink and her hands can often be found sporting the telltale signs of theavid calligrapher.
Michaela Gibbons lives in Florida, and is Chart-Signet Herald.

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68Jewish Names From the Roman
Catacombs
Lew Wolkoff (Eleazar ha-Levi)The Jewish community of Rome is the oldest in Europe. The earliest
Jews known to be in Rome were Jason ben Alexander and Eupolemus ben
Johanan, who were sent there as envoys by Judah Macabbee1 in 161 B.C.E.2
Large numbers emigrated to Rome after Palestine was taken by Pompey
and Judea became a client kingdom in 63 B.C.E. By 59 B.C.E., the Jewish
community was large enough that Cicero claimed that the number of Jews
crowding the courtroom area during the trial of Flaccus, the proconsul ofAsia, was enough to intimidate the jury.3 Judea became a Roman provincein 6 C.E. The rebellion of 66-70 C.E., which resulted in the destruction of the
Temple, and the Bar Kochba war of 132-136 C.E. swelled the community
with refugees, prisoners, and slaves. A number of the oldest, extant Roman
Jewish families: De Rossi, De Vecchi, De Pomi(s), Pintelli, and Anau, claim
decent from prisoners/slaves brought to Rome at this time.4
Both Julius and Augustus Caesar granted rights to the Jews. Besides
being allowed to send money to support the Temple in Jerusalem, they
could become Roman citizens, and have lawsuits between Jews settled by
Jewish, rather than Roman law. If the monthly distribution of grain to thepoor fell on the Sabbath, the portion allotted for the Jews was reserved
until the next day.5
At the same time, Jews were regarded as a strange and barbarous
people. They were mostly poor, abstained from eating pork, refused to1Roth, Cecil. “Rome: The Classical Period”, Encyclopedia Judaica, Jerusalem: Massadah Publications, 1971, Vol. XIV, p. 240-242.
2
For obvious reasons, Jews do not use the more common system of B.C. and A.D. toindicate years. Instead, B.C.E, (Before Common Era) and C.E. (Common Era) are used.
This practice will be followed here.
3
Flauccus was accused of embezzling funds that Jews throughout the Roman Empire
had collected and were sending to Jerusalem for upkeep on the Temple. Cicero won thecase, but the Jews were allowed to continue sending the funds. Roth.
4
Roth. The Jewish community bought the freedom of many of these slaves.
5
Livius.Org. “The Jewish Diaspora: Rome,” Livius.Org, http://www.livius.org/
di-dn/diaspora/rome.html (accessed April 30, 2007).

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Jewish Names From the Roman Catacombs
obey Roman law (using Jew instead), and set one day in seven aside forlaziness (refusing to work on the Sabbath).6
Another difference between the Jews and their Roman neighbors wasthat the Jews buried their dead in communal artificial caves, catacombs,
rather than cremating them in the Roman style. There were several reasonsfor this. The Jewish religion held that the dead would be resurrected, so
their bodies should not be mutilated or destroyed. The communal caves
were less expensive than buying individual plots of land. Finally, it wasa custom among the Jews of Palestine that went back to the burial of
Abraham and Sarah in the cave of Machpelah and that was still in use
among such groups as the Essenes in Qumran.7
Wood fragments from the oldest Jewish catacombs have been dated
back to around 50 B.C.E, at least a century before the more famous Christiancatacombs. Since the Christianity originated as a Jewish sect, the early
Christians quite probably modified the design of the Jewish catacombs fortheir own use.8
Five Jewish catacombs have been identified around the city of Rome:9• on the Via Nomentana near the Villa Torlonia,• on the Via Labicana outside the Porta Maggiore,• on the Via Appia Pignatelli (beyond the second milestone, closer tothe city than the Christian catacombs),• on the Via Appia (Via Cimarra),• on the Via Ostiensis, at Monteverde.
6

Livius.Org. ibid. citing the poet Juvenal in Satire 14.96-106.
Livius.Org. ibid. Also, see JewishEncyclopedia.com. “Catacombs,” The Jewish Encyclopedia 1906. http://www.jewishencyclopedia.com/view.jsp?artid=262&letter=C&search=catacombs (accessed April 30, 2007). For those interested, including any fantasy role players, the ground-plan of the Jewish catacombs at Venosa is included at theend of this paper.
8
Rutgers Leonard V., vab der Borg Klaas, de Jong Arie F.M., and Poole Imogen. “Radiocarbon Dating: Jewish Inspiration of the Christian Catacombs.” In “Brief Communications” Nature 436, 339 (21 July 2005), online at http://nature.com.
9
Livius.Org. ibid.
7

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Jewish Names From the Roman Catacombs
The Monteverde catacomb is both the largest and the oldest, with inscriptions referring to freed slaves, who must have been prisoners of war
brought to Rome by Pompey after his conquest of Judea in 63 B.C.E.10
Inscriptions on thetombs mention almost
Catacomb
Synagogue(s)a dozen synagogues,
Synagogue of thewhose locations can be Via Nomentana’Agger’estimated because peoSynagogue of theple would bury their
Suburadead in catacombs near
Unknown
to them. Both the syn- Via Labicana
synagogue
agogues and the catacombs are shown on the Via Appia
Synagogue of thetable at right.11
Pignatelli
Field of MarsOf the 538 names on Via Appia
Synagogue ofthe catacombs, 382 (71.0
Elaiaspercent) are inscribed in
Synagogue of the
Greek and 156 (29 per- Via Ostiensis
Agrippaeanscent) are in Latin. No
Synagogue of thenames are in Hebrew.12
Augustiales
This reflects the HelSynagogue of thelenistic culture that was
Hebrewscommon among both
VernacularJews and non-Jews dursynagogue
ing the Roman period.
Synagogue ofSome 63.4 percent ofVolumnius
Latin names were writSynagogue of the
Tripolitansten in Greek, as were
Synagogue of the85.5 percent of Greek
Calcaresians
names and 84.5 percent
of Semitic names. Another can be found in Pauls Epistle to the Romans 16.5-15, which contains
18 people with Greek names, 4 with Latin names, and 2 with Hebrew
10

Livius.Org. ibid.
Livius.Org. ibid.
12
Leon, Harry J. The Jews of Ancient Rome, Philadelphia: The jewish Publication
Society of America, 1960, Table II, Language of Name by Language of Inscription, pp. 108
11

Proceedings of the Caidan Known World Heraldic and Scribal Symposium71Jewish Names From the Roman Catacombs

Figure 1: Inscription on Gravestone in the Vigna Cimarra at Rome. “Catacombs”, Encyclopedia Judaica.
names13 .
The names given below are listed by Harry J. Leon in The Jews ofAncient Rome as having been found on one or more of the catacomb
inscriptions.14

I. Latin Names

13

Episyle to the Romans, King James Bible. Project Gutemberg. http://www.
gutenberg.org/dirs/etext05/bib4510.txt (accessed April 30, 2007).
14
Leon, ibid. The Latin names are on pages 95-101. The Greek names are on pages 101104. Semitic names are on pages 104-105, and combined Latin-Greek and Latin Semitic
two element names are on pages 106-107. I confess that in some cases I may have erred inassigning a particular name as being male or female. I tried to check them as best I could,
but this was not always possible.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium72Jewish Names From the Roman Catacombs

I.A1. Latin Single Names (Male)
Abundantius
Aelianus
Agrippinus
AdiutorAmabilius
Annianus
AnnuisCaeliusCastricius
ClodiusConstantius
Dativus
Digitius
DomnusDomi[tius?]
Donatus
Faustinus

Leo
Felicianus
Lucinus
Felicitas
LuciusFelix
Maevius
FofotisFortunatianus Mannacius
Mannus
Fortunatus
Marcellus
Fostinus
Marinus
FrontoMaro
Gauis
Gaudentuis Maronius
MaximusGermanus
Monnius
Honoratus
Notus
Impendius
MunnusIovinus
Iulianus
Oclatius
IuliusOrstorius
IustusPetronius
Plotius
Pomponius
Priscianus
Probus
Proclus
Proculus
Proiectus
Quintianus
Quirinus
Reginus
Renatus
Rufinus
Rufus
Sabinus
Salvius
Salutius

Severus
Sicilius
Sossianus
Successus
Telesin(i)us
Ursacius
Ursus
Valerius
Verecundus
Vernaclus
VictorVitalio

Pisinna
Polla
Prima
Primativa
Proca
ProclaProclina
Quintiana
ReginaRestituta
SabinaSalutia

SeveraSimplicia
Statoria
Ursacia
Valeria
Venerosa
Veriana
VibinaI.A2. Latin Single Name (Female)
Aelia
Annia
Antonina
Aquilina
Belluls
Benedicta
Cara
Centullia
Cocotia
Crescentina
Crispina
Damnata

December
Domitia
DulciaDulcitia
Faustina
Felicissima
FlaviaFlora
Gaudentia
Gemellina
Iulia
Iusta

Iustissima
LucillaLucinaMarcella
MarciaMarciana
MarosaMartina
MaximaMaximina
Numitora
Petronia

II. Greek Names
Proceedings of the Caidan Known World Heraldic and Scribal Symposium73

Jewish Names From the Roman Catacombs
II. A1. Greek Male Names
AetetusAgathon
Agathopus
Alexander
AlypiusAmachius
Amarantus
Amelius
Asclepiodote
Asterias
Asterius
Athenion
Calandio
ChrysasCyrellas
Cyrus
DaphnusDelphinus
Deuterus
Dionysias
Diophatus
Epagathus
Epigenius
Eucarpus
Eudoxius
Eugraphius
Eulogius
Euphranticus
Euphrasius
Euphrenon
Eupsychus
Eusebius
Eutropius
Eutyches

Eutychianus
Eutychius
Galasius
HellesHermogenes
Himerus
Iaso
Iason
Iocathinus
Ionius
Irenaeus
Isodorus
Leus
Liontius
Macedonius
Meander
Menophilus

MonimusMusaeus
NicanderNicetesNicodemus
Numenius
Pancharius
Pancratius
PardusParegorius
Phillippus
Polycarpus
Poly[me]nius
Procopius
Rhodion
Salpingius
Seleucus

Socus
Staphylus
Stephanus
StratonSymmachus
Theodorus
Theodotus
Theophilius
Trophimus
TryllisTychicus
Xanthias
Zenon
Zosimus
Zoticus

Irene
IrenesIsodoraIstasia
Leontia
Nicetes
Poemenis
SiricaSophronia
Thalassa
Theodora
Trophime
ZoticeLazar
Mniaseas
MuseusSabbatis
Sabbatius
Salo

II.A2. Greek Female Names
Alexandra
Alexandria
Alexe
AmmiasAphrodisia
Anastasia
Archigenia
Asteria

ChrysisDaphneDionysias
Doris
Eparchia
Epiphania
Eugenia
Euhodia

Eulogia
EuporeEusebia
EusebisEutychis
HermiaHermione
HilaraIII. Semitic Names
III.A1. Semitic Male Names
Abas
BeniaminEli

Gadias
Iacob
Ionathan

Ioses
Isaac
Iudas

Proceedings of the Caidan Known World Heraldic and Scribal Symposium74

Jewish Names From the Roman Catacombs
SamuelSimon

Zabuttas

Zortas[ius]Also a two-element male name: Tubias Barzaharona. Leon says that
Barzaharona is a patronymic, probably the Latin version of bar Aharon,
the son of Aaron.

III.A2. Semitic Female Names
Aster
Besula
Mara

Maria
Marta
Rebecca

Sabbasa
Sabbatia
SabbatisSara
SimonisSome of the Semitic names are Latinized spellings. Aster = Esther;
Iacob, Ionathan, Ioses, and Iudas = Jacob, Jonathan, Joses (Joseph), andJudas; Museus = Moses; and Mniaseas=Manesseh
There are also a number of Latin names that might be kinnui, translations” of a Hebrew name into Latin.
Datium and Donatus = Nathan(Gift)
Gaudentuis, Gelasius, and Hilarus= Isaac (laughter)
Theodorus and Theodotus =Jonathan (Grace of G-d)

Iustus and Probus = Zadok (Just,
pious)
Vitalio, Zosimus, and Zoticus =Chayyim (life)
Dulcia = Naomi (sweet)

As I discussed more fully in “Jewish Naming Convention in AngevinEngland”15 , Jewish names take the form:
Name son/daughter of Fathers Name son of Grandfathers Name Byname 1
Byname 2
Not all of the elements need to be used in a given name. For example,
my own personas full name is Eleazar ben Samuel ben Eleazar ha-Levi ofToledo. I could use that or any of the following variants:• Eleazar ben Samuel ben Eleazar of Toledo
15

Ha-Levi, Eleazar. “Jewish Naming Convention in Angevin England”, which is available online on the SCA Laurel web page at http://www.sca.org/heraldry/laurel/names/jewish.html(accessed April 30, 2007).

Proceedings of the Caidan Known World Heraldic and Scribal Symposium75

Jewish Names From the Roman Catacombs

Fathers Name

Sons Name Most
LikelyDaughters Name
Most Likely

Latin

Latin

Latin

Greek

Greek

No Preference

Semitic

No Preference

No Preference

Table 1: Naming preferences for children• Eleazar ben Samuel ben Eleazar ha-Levi• Eleazar ben Samuel of Toledo• Eleazar ben Samuel ha-Levi• Eleazar of Toledo• Eleazar ha-Levi
The single names shown above would have followed that same pattern,
most often Name son/daughter of Name or Name Byname. Leon foundthat parents most likely chose a childs name based on the type of name thefather had, as shown in table 1.16
The Ashkenazi custom of not naming a child after a living relative does
not seem to have been followed. Instead, the Roman custom of naming
the child for its father was common. There are many cases of a father andson with the same name; for example: “Alypius of Tiberius and his sons,Justus and Alypius”. Daughters often bear the female version of a fathers
name Julia/Julius or Flavia/Flavius. There are also two cases of a son withthe male equivalent of his mothers name: “To Severus, his sweet mother
Severa. . . ”
There do not appear to be many bynames, but this may be a resultof the formal language used in the writing of the funereal inscriptions.
Besides the patronymic byname listed earlier, persons are referred to as“the Hebrew”, “the Scribe”, “the Butcher” (substitute any profession), and,uniquely, “the Proselyte”. The restriction against Jews actively promoting
16

Leon, ibid., pp. 109-112.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium76Jewish Names From the Roman Catacombs
religious conversion had not been become a part of Jewish Law. There
were a number of historic cases of Romans, including even, members of
the Senate and the Imperial household, converting to Judaism. In suchcases, however, the persons name would follow the Roman convention
that he or she had been born into.
Classic Roman names had three parts: the prnomen, the nomen and the
cognomen. The prnomen was the equivalent of a modern given name. The
nomen referred to the gens, the voting tribe, to which the person belonged.
The cognomen might refer to the specific family within that tribe or it
might be a nickname referring to a physical feature, attribute, or place oforigin.
Foreigners, such as the Jews, would pick a prnomen to their liking, thenomen of their patron (the person to whom they owed their citizenshipto; if they had one), and the cognomen would be their old, non-Roman,personal name, appropriately Latinized. This practice is shown in the listof double and triple names shown below. A double name might refer to aperson who was born to Jewish citizens and had no patron or to a person
who had gained citizenship through the efforts of other Jews, such as a
Jewish slave or war prisoner freed and bought citizenship by the Jewish
community17

IV. Double and Triple Names
IV.A1. Latin Double Names (Male)
Aelius Aprilicus
Aelius Primitivus
Aninus Sabinianus
Annius Genialis
Aurelius Bassus
Aurelius Crescens

Caelius Quintus
Claudius Provinicius
Cresces Siniceriussdcx
Flavius Constantius
Flavius Iulianus
Flavius Sabinus

Iulus Sabinus
Iunius Iustus
Lucius Maecius
Siculus Sabinus

17

This discussion of Roman naming conventions is taken from “Names and Naming
Practices of Regal and Republican Rome” by Meradudd Cethin. The article is also available online on the SCA Laurel Web page at http://www.sca.org/heraldry/laurel/names/roman/ (accessed April 30, 2007).

Proceedings of the Caidan Known World Heraldic and Scribal Symposium77

Jewish Names From the Roman Catacombs

IV.A2. Latin Double Names (Female)
Aelia Patricia
Aelia Septima
Aurelia Auguria
Aurelia Celerina
Aurelia Flavia
Aurelia Quintilla
Caelia Omnina
Claudia Marciana
Claudia Prima
Domitia Felicitas

Faustula Provincia
Flavia Antonina
Flavia Caritina
Flavia Dativa
Flavia Flaviana
Flavia Iuliana
Flavia Vitalinis
Iulia Aemilia
Iulia Marcella
Iulia Rufina

Iulia Severa
Lucretia Faustina
Maecia Lucianis
Rufilla Pietas
Sabina Palma
Ulpia Marina
Veturia Paulla

IV.A3. Latin Partial Double Names (Female; Part of Inscription Obscured)
Agentia ???ana???ia Sabina
IV.A4. Latin Triple Names
Gaius Furfanius Iulianus
Lucius Maecius Constantius

Lucius Maecius Victorinus

IV.B1 Latin-Greek Male Double Names
Agris Euangelus
Aurelius Alexnder
Aurelius Hermias

Aurelius Olympius
Caelius Abastasius
Pompeius Eutyches

Sempronius Basileus
Tullius Irenaeus

IV.B2 Latin-Greek Female Double Names
Aelia Alexandra
Aemilia Theodora
Alexandria Severa
Aurelia Althea

Aurelia Helenes
Aurelia Protogenia
Aurelia Zotice
Caelia Eudous

Cattia Annias
Claudia [Bere?]niceFabia Asia
Gargilia Eufraxia

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Jewish Names From the Roman Catacombs
Iulia Alexandra
Iulia Alexandria
Iulia Aphrodisia

Marcia Zenodora
Naevia Cyria
Varia Zotice

IV.B3 Latin-Greek Male Triple Names
Atronius Tullianus Eu- Alexus
Tettius Rufinus Melisebius
Quintus Claudius Sys- tius
MarcusQuintus nesius

IV.B4 Latin-Greek Female Triple Names
Iulia Irene Arista

IV.C1 Male Latin-Semitic Double Names
Arelius Ioses
Claudius Ioses

Pompeius Ionata

IV.C2. Female Latin-Semitic Double Names
Appidia Lea
Aurelia Maria
Benedicta Maria

Fabia Mauria
Flavia Maria
Pticia Aster

Titinia Anna

IV.C3. Latin-Semitic Triple Names
Lucius Domitius Abbas
Lucia Maecia Sabbitis

About the Author
Reb Eleazar ha-Levi was born in Toledo in the Year 5008 Anno Mundi (Toledo,
Spain in 1248 C.E.) Trained as a scholar, he has traveled in Italy, where his daughter,

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

79

Jewish Names From the Roman Catacombs
Osnah Rachel, was born and England before settling in at the court of the kingof Castile. In the Known World, he serves as herald to the East Kingdom Shireof Blak Rose and is a Companion of the Maunche and a Companion of the Silver
Crescent, in part for his work researching and teaching Jewish topics. Reb is theperiod Hebrew equivalent of lord, and is accepted as such by the SCA.
Lew Wolkoff is a planner/analyst for the Pennsylvania Department of Health
who divides his spare time between science fiction fandom and the SCA, withsome always set aside for reading, walking, and, of course, his daughter, Rose.
He can be reached by snail-mail at 2118 Penn Street; Harrisburg, PA 17110; byphone at (717) 772-5298 (work) or by e-mail at lwolkoff@prodigy.net.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium80

Jewish Names From the Roman Catacombs

Figure 2: From Jewish Encyclopedia.com, “Catacombs”, Ground-Plan of
the Jewish Catacombs at Venosa. A, B, entrance grottoes; C, entrance
to catacombs; D, principal corridor; E-K, side corridors; L-P, corridors in
ruins.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

81Personal Names from L’Armorial
des Rois de l’Épinette
Personal names found in the “Armorial des rois del’épinette de Lille 1283-1486”: a sampling of malenames from the North of France between the 13thand 15th century
Mathilde Poussin (Chrestienne la pescheresse)
Introduction:
The “Tournoi de lÉpinette” in Lille (North of France) was a yearly tourneyhappening around Lent. It probably started sometimes in the middle of the
13th century but the first year for which the winner is known is 1283. The
winner was taking the title of “Sire de Joie” or “roi de lÉpinette”. The Sirede Joie had for duty to choose his successor (with the previous winners)
and to organize, and pay for, the yearly celebrations. These celebrations
involved several feasts and 2 weeks of tourneys and joust. The prohibitive
cost of this event is likely what eventually caused its end as after 1450,
despite municipal funding, the winner would often flee the city to avoid
the expense.
The names listed below were published, with the corresponding blazons, by Michel Popoff in “Documents dhéraldique médievale” (Editions
du Léopard dOr, 1984). The list results from several documents. The
original armorial was collected by Jaspart du Bos, hérault de lÉpinette, as
requested by the city of Lille in 1481. Popoff used from the reproduction
by Victor Bouton, with some corrections based on Henri Fremauxs consultation of the city registers. The names are presented in three sections:complete names, chronologically followed by given names and surnames
sorted alphabetically.
The annexe A is a list of the entrants in the Tournoi de lEpinette for1435. This list comes from a different document (manuscript #31838 from
Proceedings of the Caidan Known World Heraldic and Scribal Symposium

82Personal Names from L’Armorial des Rois de l’Épinette
the Bibliothèque Nationale de France) but was also present in Popoffs book.
The names have not been reported using the column divisions describedin the text.
Table 1: Personal names found in the Armorial des rois de lépinette deLille 1283-1486
Year

Given Name Surname

Year

1283

Jehan

le Grand

1320 Charles

du Cattelletz

1284

Lois

le Grand

1321 Bettremieu

de Courtray

1285

Charlesle Grand

1322 Jehande Quienlen

1286

JacquesGrand1323 Jehanle Neveut

1287

Gérard1324 Jehan

de Ghistelles

1288

Hutin

de Le Sauch

1325 HenryGomer

le Grand

1326 Baudart

Vretez1289

Given Name Surname

1290

Eleutherde Pontrowart

1327 Pieron

Vretez1291

HucquinFremault

1328 Jehanli Niez

1292

Jehan

le Grand1329 Jehande li Bare

1293

Philippes

Hangouart

1330 Jehanle Prevost

1294

Jehan

de Luxembourg

1331 Anthoine

Fremault

1295

Denis

de Bauvin1332 Pierronde Li Vacquerie

1296

Denis

de Wervy

1333 Gilles

Canardle Grand

1334 Jakemon

Eskevin

1297

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

83Personal Names from L’Armorial des Rois de l’Épinette
Year

Given Name Surname

Year

Given Name Surname

1298

Jehan

d’Antoing1334 Jaquemes

Lesquievin

1299

Henry

de Courtray

1335 George

Vreté

1300

Jehan

de Quienlen

1336 Guillaumede Bauffremez

1301

Jacquesle Prevost

1337 Jean

Maillart

1302

Jehan

1338 Robertde La Vacquerie

1303

Jacquemart

Fremault

1339 Jeande Courtrai

1304

GillardFremault

1340 Jehan

Hanghewart

1305

Robertde Bauffermez

1341 Watier

Hanghewart

1306

Thieryde Bauffermez

1342 Bauduin

le Neveut

1307

Henry

Vertez1343 Jean

Vreté

1308

RobertVretez1344 Philippon

Vreté

1309

Jehan

de Pontrewart

1345 Gillon

le Preudhomme

1310

Thierydu Chastel

1346 Pierron

le Preudhomme

1311

Baulduinle Preudhomme

1347 Jakemon

Delepiere

1312

Laurens1348 Pieron

Le Nepveu

1313

Anthoine

Le Nepveu

1349 Jehan

Le Nepveu

1314

Pierrede Pontrewart

1350 Jacquemon

Denis

1315

Rollant

le Prevost

1351 Waukier

Clenket1316

Jacquesde Villers

1352 Jacquemon

Le Neveu

1317

GillesFremault

1353 Au Bèghede Warenghien

1318

Jacquesle Preudhomme

1354 Jehan

Le Viart

1319

Anthoinede Lostruy

1355 Philippede Mailly

1356

Thumasde Langlée1394 Henride Le Vacquerie

1357

Jean

Artus

1395 Jehan

Quennart

1358

RobertCanart1396 George

de Le Barre

1359

Simon

de Gand1397 Jacques

Le Niez

1360

ThumasArtus1398 Thomas

Vretez

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

84Personal Names from L’Armorial des Rois de l’Épinette
Year

Given Name Surname

Year

Given Name Surname

1361

Ernoulde le Barre

1399 Jehan

As Poiz

1362

Jean

Magret1400 Pierrede Le Vacquerie

1363

Jacques

Vretez1401 Jehan

Le Viart

1364

JakemonArtus1402 Baulduin

Vretez1365

Philippon

Le Fainier

1403 Philipartde Pontrewart

1366

JacquemonFrémault

1404 Pierre

Dormeaux

1367

Jehan

Le Frainier

1405 Bauduin

Gomer

1368

Jacquemon

Gommer1406 Jacques

Fourligne

1369

Jehan

Regnier

1407 Hubert

Gomer

1370

Jehan

Frémaux

1408 Jacques

Prevost

1371

Jehan

Le Monnoyer

1409 Lotart

Frémaux1372

Bietremieude La Barre

1410 Jehan

Tournemine

1373

Pierrede La Barre

1411 Jehande Clencquet

1374

Charlesde Joie1412 Jehan

Gomer

1375

Baulduin

Vretez1413 Philippes

Vertez1376

Jacquemonde Villers

1414 Pierre

Vertez1377

RobertDormeaux

1415 Jehan

Gomer

1378

Henry

Vretez1416 Jacquesde Langlée

1379

Guiot

le Preudhomme

1417 Tristrand

Lescuier

1380

Jehan

Artus

1418 Oudard

de Langlée

1381

Jean

Descaubecque1419 Gérard

de Villers

1382

Jehan

Hangouart

1420 Anthoine

Le Preudhomme

1383

Martin

Le Borgne

1421 Henryde Termonde

1384

PierreLe Neveu

1422 Willaumede Termonde

1385

Wauquier

Le Toillier

1423 Jehande Saint-Venant

1386

Jehan

de Villers

1424 Bertrand

Régnier

1387

Ernoulde Le Barre

1425 Jehan

Fremault

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

85Personal Names from L’Armorial des Rois de l’Épinette
Year

Given Name Surname

Year

Given Name

Surname1388

Guillede Warenghien

1426

EvrardHangouart

1389

LotartFremaux

1427

Josse

Regnier

1390

Denis

Paldin

1428

Henry

Le Preudhomme

1390

Jehan

Hangouart

1429

Jehan

Vertez1391

Jean

Dermeaux

1430

Philippe

Fermault

1392

Robertde Le Vacquerie

1431

Baulduin

Gomer

1393

Jacquemart

Artus

1432

Jehan

de Lanstais

1433

Jehan

Gomer

1461

Pierrele Preudhomme

1434

Jacques

Prevost

1462

Jehan

Verdière

1435

Jehan

Artus

1463

Jacques

Le Machon

1436

Jehan

Warin

1464

Bauldwin

Gomer

1437

DanielThieulaine

1465

Henry

Gomer

1438

Robertde Saint-Venant

1466

Gilles

Gomer

1439

Jehan

Prevost1467

Baulduinde Le Cambe

1440

Jehan

Hersent

1468

Hues

de Le Cambe

1441

Jehan

de Bouverie

1469

Denis

Bournel

1442

Jehan

de Le Cambe

1470

Jean

de Saint-Venant

1443

Jean

Fremault

1471

Thomas

Artus

1444

Jores

Verdière1472

Jacquesde Landas

1445

Erard

Thieulaine

1473

Jacotin

Artus

1446

Gilbert

1474

Jehan

Fissiel

1447

AllardLe Preudhomme

1475

MartinLescuier

1448

Baulduin

Orghet1476

Jacquesde Lanstais

1449

Jacques

Gomer

1477

Jacquesde Lanstais

1450

Henry

Gomer

1478

Hues

Ghebode

1451

Jehan

de Landas

1479

Pierrede Lobel

1452

Jehan

Monnoier

1480

Jehan

d’Abelain

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

86Personal Names from L’Armorial des Rois de l’Épinette
Year

Given Name Surname

Year

Given Name Surname

1453

BettreminHangouart

1481 Gilles

Eves

1454

Bettremin

Regnier

1482 Gauthier

Eve

1455

Jehan

de Has1483 Jacques

Ganthois

1456

Jehan

Destailleurs

1483 Baulduin

de Croix

1457

Jehan

Preudhome1486 Jacquesde la Cambe

1458

MartinDenis

1483 Baulduin

de Croix

1459

PierreLe Maire

1486 Jacquesde la Cambe

1460

Jehan

de Danset

1486 Jacquesde la Cambe

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87Personal Names from L’Armorial des Rois de l’Épinette
Table 2: Given names found in the Armorial des rois de lépinette de Lille
1283–1486
Given names # times encountered Year(s)Allard1

1447

Anthoine

41313, 1319, 1331, 1420

Baudart1

1326

Bauduin2

1342, 1405

Baulduin

71311, 1375, 1402, 1431, 1448, 1467,
1483

Bauldwin

1

1464

Bertrand1

1424

Bettremieu

1

1321

Bettremin21453, 1454

Bietremieu

1

1372

Charles

3

1285, 1320, 1374

Daniel

1

1437

Denis

4

1295, 1296, 1390, 1469

Eleuther

1

1290

Erard

1

1445

Ernoul21361, 1387

Evrard1

1426

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

88Personal Names from L’Armorial des Rois de l’Épinette
Given names # times encountered Year(s)Gauthier

1

1482

George21335, 1396

Gérard2

1287, 1419

Gilbert1

1446

Gillard1

1304

Gilles41317, 1333, 1466, 1481

Gillon1

1345

Guillaume

1

1336

Guille

1

1388

Guiot

1

1379

Henri

1

1394

Henry

8

1299, 1307, 1325, 1378, 1421, 1428,
1450, 1465

Hubert1

1407

Hucquin

1

1291

Hues

2

1468, 1478

Hutin

1

1288

Jacotin

1

1473

Jacquemart

21303, 1393

Jacquemon

51350, 1352, 1366, 1368, 1376

Jacques

17

1286, 1301, 1316, 1318, 1363, 1397,
1406, 1408, 1416, 1434, 1449, 1463,
1472, 1476, 1477,1483,1486

Jakemon31334, 1347, 1364

Jean

9

1337, 1339, 1343, 1357, 1362, 1381,
1391, 1443, 1470

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

89Personal Names from L’Armorial des Rois de l’Épinette
Given names # times encountered Year(s)
Jehan

51

1283, 1292, 1294, 1298, 1300, 1302,
1309, 1322, 1323, 1324, 1328, 1329,
1330, 1340, 1349, 1354, 1367, 1369,
1370, 1371, 1380, 1382, 1386, 1390,
1395, 1399, 1401, 1410, 1411, 1412,
1415, 1423, 1425, 1429, 1432, 1433,
1435, 1436, 1439, 1440, 1441, 1442,
1451, 1452, 1455, 1456, 1457, 1460,
1460, 1462, 1474, 1480

Jores

1

1444

Josse

1

1427

Laurens

1

1312

Lois

1

1284

Lotart2

1389, 1409

Martin31383, 1458, 1475

Oudard1

1418

Philipart

1

1403

Philippe

21355, 1430

Philippes

21293, 1413

Philippon

21344, 1365

Pieron21327, 1348

Pierre91314, 1373, 1384, 1400, 1404, 1414,
1459, 1461, 1479

Pierron21332, 1346

Robert71305, 1308, 1338, 1358, 1377, 1392,
1438

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

90Personal Names from L’Armorial des Rois de l’Épinette
Given names # times encountered Year(s)Rollant

1

1315

Simon

1

1359

Thiery21306, 1310

Thomas21398, 1471

Thumas21356, 1360

Tristrand

1

1417

Watier1

1341

Waukier

1

1351

Wauquier

11385

Willaume

1

1422

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

91Personal Names from L’Armorial des Rois de l’Épinette
Table 3: Surnames found in the Armorial des rois de lépinette de Lille
1283–1486
Surnames# times encountered

Year(s)Artus

81357, 1360, 1364, 1380, 1393, 1435,
1471, 1473

As Poiz

1

1399

Bournel1

1469

Canard1

1333

Canart1

1358

Clenket1

1351

d’Abelain

11480

d’Antoing

11298

de Pontrowart

1

1290

de Bauffermez

21305, 1306

de Bauffremez

1

1336

de Bauvin1

1295

de Bouverie

1

1441

de Clencquet

1

1411

de Courtrai

1

1339

de Courtray

21299, 1321

de Croix1

1483

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

92Personal Names from L’Armorial des Rois de l’Épinette
Surnames# times encountered

Year(s)de Danset

11460

de Gand1

1359

de Ghistelles

1

1324

de Has11455

de Joie11374

de La Barre

21372, 1373

de la Cambe

1

1486

de La Vacquerie

1

1338

de Landas

21451, 1472

de Langlée

31356, 1416, 1418

de Lanstais

31432, 1476, 1477

de le Barre

3

1361, 1387, 1396

de Le Cambe

31442, 1467, 1468

de Le Sauch

1

1288

de Le Vacquerie

31392, 1394, 1400de li Bare

1

1329

de Li Vacquerie

1

1332

de Lobel11479

de Lostruy

1

1319

de Luxembourg

1

1294

de Mailly

11355

de Quienlen

21300, 1322

de Saint-Venant31423, 1423, 1470

de Termonde21421, 1422

de Villers

41316, 1376, 1386, 1419

de Warenghien

21353, 1388

de Wervy

1

1296

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

93Personal Names from L’Armorial des Rois de l’Épinette
Surnames# times encountered

Year(s)Delepiere

1

1347

Denis

2

1350, 1458

Dermeaux

1

1391

Descaubecque

1

1381

Destailleurs

1

1456

Dormeaux

21377, 1404

du Cattelletz

1

1320

du Chastel

1

1310

Eskevin

1

1334

Eve

1

1482

Eves

1

1481

Fermault

1

1430

Fissiel

11474

Fourligne

11406

Fremault

71291, 1303, 1304, 1317, 1331, 1425,
1443

Frémault

1

1366

Fremaux

11389

Frémaux

21370, 1409

Ganthois1

1483

Ghebode

1

1478

Gomer

12

1325, 1405, 1407, 1412, 1415, 1431,
1433, 1449, 1450, 1464, 1465, 1466

Gommer

1

1368

Grand

1

1286

Hanghewart

21340, 1341

Hangouart

5

1293, 1382, 1390, 1426, 1453

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

94Personal Names from L’Armorial des Rois de l’Épinette
Surnames# times encountered

Year(s)Hersent

11440

Le Borgne

11383

Le Fainier

1

1365

Le Frainier

1

1367

le Grand

6

1283, 1284, 1285, 1289, 1292, 1297

Le Machon

11463

Le Maire

1

1459

Le Monnoyer

1

1371

Le Neveu

21352, 1384

le Neveut

21323, 1342

Le Niez

11397

le Preudhomme

91311, 1318, 1345, 1346, 1379, 1420,
1428, 1447, 1461

le Prevost

31301, 1315, 1330

Le Toillier

1

1385

Le Viart

21354, 1401

Lescuier

21417, 1475

Lesquievin

1

1334

li Niez11328

Magret1

1362

Maillart

1

1337

Monnoier1

1452

Orghet1

1448

Paldin11390

Preudhome11457

Prevost3

1408, 1434, 1439

Quennart

1

1395

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

95Personal Names from L’Armorial des Rois de l’Épinette
Surnames# times encountered Year(s)Regnier

1

1369

Regnier

21427, 1454

Régnier1

1424

Thieulaine21437, 1445

Tournemine

1

1410

Verdière21444, 1462

Vertez41307, 1413, 1414, 1429

Vreté

3

1335, 1343, 1344

Vretez81308, 1326, 1327, 1363, 1375, 1378,
1398, 1402

Warin

1

1436

References
1. Documents d’héraldique médiévale - 1 - Armorial des rois de l’épinette
de Lille 1283-1486 Published by Michel Popoff Edition du Léopard
d’or 1984 ISBN 2-86377-033-11

About the Author
Mathilde Poussin was born in France and moved to the US after her Immunology
PhD to work as a postdoctoral Fellow in Galveston, TX. She has since been working
in research laboratories. She joined the SCA shortly after moving to Philadelphia
in 2002.
Chrestienne la pescheresse, current Ivy pursuivant, lives in the Bailiwick ofIvyeinrust in the East Kingdom and is a warranted fencing marshal, a scribe anda cook. She is also a member of the Sisterhood of Saint Walburga.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium96Some Names from Picardy in the
14th Century
Personal names found in the Armorial dudénombrement de la Comté de Clermont en
Beauvaisis 1373-1376
Mathilde Poussin (Chrestienne la pescheresse)
Introduction:
In 1371, Charles V requested a census of the royaume of France. In the
county of Clermont en Beauvaisis, it was accomplished between 1373
and 1376 under the direction of of Gilles de Nedonchel, gouvernor of theCounty and Lord of Cressonsacq. The names and corresponding devices
were collected in the “Dénombrement du comté de Clermont en Beauvaisis”. The names listed below were published, with the blazons, by Michel
Popoff in “Documents dhéraldique médiévale” (Editions du Léopard dOr,1998). He had collected them from the manuscript fr. 20082 stored at the
Bibliothèque nationale de France. The names were organized in three
sections: complete names, given names and finally surnames.

Complete Names:
Table 1: The following names are organized alphabetically and the gender
has been indicated when known.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium97Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name

Surname

M/F

Adam

Calet

M

Ancelet

Paris

M

Adam

DaridelM

Andrieu

CailleurM

Adamdu WezM

Andrieude Velanne

M

Adam

Le RouxM

Andrieudu Crocq

M

Adam

Malet

M

Andrieu

Le Clerc

M

Adam

MargueM

Angnèsde Beronne

F

Adan

de BachiM

Ansel

de Lesglentier

M

Aelipzde Burles

F

Ansel

Requignart

M

Aelipzde CauroyF

Anseletde Rouviller

M

Aelipzde Jusaincourt

F

Ansoult

de HezM

Aelis

de Saint Rimoult

F

Ansoult

DestoyM

Agnèsde BeronneF

Ansoult

Requignard

M

Agnèsde Bleincourt

F

Arnoulde Rouviller

M

Agnès

GuepineF

Aubertde Fenieres

M

Agnésde HellyF

Aubertde Hangest

M

Agnez

CoseteF

Aubertde Maimbeville

M

Agnotede PoizF

Aubertdu BozM

Alis

du Mesnil

M

Aubertdu Four

M

Alliaumede MezM

Auberydu Quesnel

M

Alphonzde Maubeuge

M

Aubin

de Cramoisy

MAmelinede Ponchaux

F

Aubry

de Hardencourt

M

AmelineGrimoudeFAubry

du Quenel

M

Ancel

de Lesglentier

M

Aubry

Le TavernierM

Anceletde Montegny

M

Aubry

Paris

M

Anceletdu Helloy

M

Avise

de Coivrel

F

Baudechonde Fransieres

M

Bertaut

de Le MareM

Baudessonde Le Chapelle

M

Bertaut

de Recule

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium98Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Bertaut

de Villers

M

Baudinotde Hanvoiles

Baudoinde Fumechon

M

Berthatle HanonM

Bauduinde Clary

M

Berthautde Fresnoy

M

Bauduinde Fassequele

M

Berthaut

du Moustier

M

Bauduinde Lens

M

BertinLe GayM

Bauduindu bozM

Bertrande Laval

M

Belot

HardeleM

Bietrix

de Lardieres

F

BernartLiegartM

Blanchede Foulleuses

F

Bertaut

de Hargenlieu

M

Blanchede Neelle

F

Blarelde Linieres

Bouchats

li Asnes

M

Bouchier

de Castenoy

Boulesde Lihus

BlondelM

Bocherede Camelin

Bordelde Balaigny

M

Briet

Le Lorrain

M

Bordeletde Balaigny

M

Brouetdu MezM

Bordeletde Balengny

M

Brunetde Nully

M

Carpentierde Bruel

Colartde Nouroy

M

Carpentierdu Quenel

Colartde Sachy

M

Challesde Campremy

M

Colartde Saint-Ernoul

MCharlede Campremy

M

Colartde Valescourt

MCharlesDaumont

M

Colartde Vienne

M

Charlesde Campremy

M

Colartd’EstreesM

Charlesde Fumechon

M

Colartdu Tenement

MCharlesde Liencourt

M

Colart

Le BrunM

Charlesde Saint Ernoul

M

ColartLe Lorrain

M

Chevrelde le Mote

M

ColartLostelierM

Claudinde Faiel

M

ColartPoupartM

Climent

de Le croix

M

ColartMauchevalier

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium99Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Climent

du PuisM

ColayeLe Pelletiere

F

Climent

Fournier

M

ColayeVelousteF

ColaieLe Peletiere

F

Colin

AnguotM

Colardde MillyM

Colin

du Francastel

M

Colartd’AufayM

Colin

Le Begue

M

Colartde Biaurepaire

M

Colin

Le Parmentier

M

Colartde Blangy

M

Colin

Paix est bonne

M

Colartde Boussiaus

M

Colinetde Milly

M

Colartde Burles

M

Cordeletde Balegny

M

Colartde Candeville

M

Cordelierde Hemeviller

M

Colartde Le Place

M

Cornu

de Cauroy

M

Colartde Lonclieu

M

Cornu

de Lieuviller

M

Colartde MillyM

Crespind’Aumecourt

M

Denys

Le MaireM

Drieude Laittre

M

Denys

Le Mareschal

M

Drieu

de Pisseleu

M

Desramé

Daufegnies

M

Drieu

Le Clerc

M

Desraméde SorelM

Drieu

le Maire de Sailleville

M

Drieu

d’AuffayM

Drieu

Le Majeur

M

Drieu

Daumares

M

Drieu

Marc d’Argent

M

Drieu

de Beronne

M

Drouynetdes Boues

M

Drieu

de Bulles

M

Duvelinde LihusM

Drieu

de Cauffery

M

Enguerande Dompierre

M

Estienne

du WezM

Enguerrande Moussures

M

Estienne

GeroutM

Enguerrand’Eschantelly

M

Estiennele Boiteux

M

EnguerranGouvionM

Estienne

Le BrunM

Erminede Campremi

F

Estienne

Le Fevre

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium100Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Erminedu Chastel

F

Estienne

MoucheronM

Ernoulde Gavres

M

Estonnéde VilleM

Ernoulde Rouviller

M

Eustacede Harmes

M

Estandart

de NullyM

Eustacede Mileressart

M

Estenede La Grange

M

Eustacede Miliersart

M

EsteveBonnardelM

Eustacede Villers

M

Estevede la Grange

M

Eustacedu BruilleM

Estiennede Creelg

M

Eustace

Riquesse

M

Estienne

du Saulon

M

Ferry

de Mouy

M

Florensde NullyM

FirminBosquetM

Florentd’Ars

M

Firminde Rieux

M

Florotdu Plessie

M

Florence

de Cuignieres

F

Foulletde Foulleuses

M

Florencede Rivellon

F

Fouquautd’Antoing

M

Florensde Chepoy

M

FranoisLe Bailly

M

Florensde MillyM

Freminde Tilloy

M

Florensde NulliM

Froissartde Vaux

M

Gautierde Cuise

M

Gille

Beliave

M

Gautier

du Ru

M

Gille

DautervilleM

GauvainDarsizM

Gille

de Beronne

M

Gauvain

Darsy

M

Gille

de Espaielles

M

Gauvainde DyveM

Gille

de Hargenlieu

M

Gauvainde Gournay

M

Gille

de PonchauxM

Gauvainde Liencourt

M

Gille

de Villers

M

Gauvainde Maignelers

M

Gille

d’Espaieres

M

Gauvains

de Maignelers

M

Gille

FlorieM

Geffroyde Charni

M

Gille

LescotM

Proceedings of the Caidan Known World Heraldic and Scribal Symposium101Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Gieffroyde Charni

M

Gille

ThonnelM

Gilede Soicourt

M

GillesCaruelM

Gile

Le Joene

M

GillesDaumares

M

Gillesde Couriaux

M

Guillaumede Monchy

M

Gillesde Crapain

M

Guillaumede Pontmolain

M

Gilletde Fresniaux

M

Guillaumede Rouviller

M

Gilletede Marcelles

F

Guillaumede Valescourt

M

Godefroyde Fransieres

M

Guillaume

Derquieux

M

Godefroy

du Postiz

M

Guillaumed’Estrées

M

Gouchartde Laval

M

Guillaumed’OrlyM

Griffonde Clary

M

Guillaumedu QueminM

Grongnartde Barly

M

Guillaumedu Quesnel

MGrongnart

de Belloy

M

Guillaume

Grimolt

M

Grongnetde MonchauxM

Guillaume

Guerout

M

Guerardede Le MoteF

Guillaume

HoquerelM

Guerartde Liencourt

M

Guillaume

Le Bescot

M

Guerartde Lonclieu

M

Guillaume

Le Cercelier

M

Guerartde Lonclieu

M

Guillaume

Le Latimier

M

Guerartde Moregnies

M

Guillaumele Maire de Remin

M

Guerartde RostM

Guillaume

Le MoineM

Guerartde Roumescampz

M

Guillaume

Le Roux

M

Guerartde Rouviller

M

GuillaumeMaréeM

GuerartDyvortM

Guillaume

PouchinM

GuerartGouvionM

Guillaume

RocheleM

GuerartGuillot

M

Guillaume

TirlenM

GuerartLe Forestier

M

Guillebertde Le MareM

Guiarsde le Banne

M

Guillebert

DoubletM

Proceedings of the Caidan Known World Heraldic and Scribal Symposium102Some Names from Picardy in the 14th Century

Given Name

SurnameM/F

Given Name Surname

M/F

Guiartde Le MoteM

Guillebert

du Tieuloy

M

Guiartde Milly

M

Guillemette

Barde

F

Guiartde Rouviller

M

Guillemette

Le BesquoteF

Guichart Nel Martel

M

Guilleminde Coudun

M

Guiet

Bonnevie

M

Guillot

La GacheM

Guillaume

Boguet en Lardieres

M

Guillot

Le Machon

M

Guillaume

Cuer de Roy

M

Guiot

de Bresche

M

Guillaumede CampremyM

Guy

de Beaumont

M

Guillaumede CuignieresM

Guyde GoyM

Guillaumede FenieresM

Guyde Hardencourt

M

Guillaumede la TournelleM

Guy

de Nery

M

Guillaumede Le CoustureM

Guy

de Pomponne

M

Guillaumede Le PorteM

Guyde Traynel

M

Guillaumede Le Rendoe

M

Guy

du Plessie Brion

M

Guillaumede Le Tournelle

M

Guy

QuieretM

Guillaumede Saint Germer

M

Guyarsde Moremont

M

Guillaumede SoisyM

GuyartBouvierM

Guillaumede Souvegny

M

Guyartde MaimbevilleM

Guyartde Rouviller

M

GuyartMorel

M

Guyartde SoisyM

Guyot

de Fransieres

M

Hannequinde Le Beue

M

Henry

Lescripvain

M

Harpindu Quesnel

M

Henry

Troussiaux

M

Havet

de Fresnoy

M

Herpinde Saint-Sauflieu

M

Havet

d’EstreesM

Herpindu BozM

Havetd’Estreez

M

Honoré

CrousetM

Havot

de Blaincourt

M

Hoste

de Tilloy

M

Hebertde Turqueteville

M

Hoste

Havet

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium103Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

HectorDaumecourt

M

Hue

CanevasM

HenriBoullateM

Hue

DartoisM

Henrid’AuvillerM

Huede Belloy

M

Henri

de BrueilM

Huede Chastellon

M

Henri

du MarchiéM

Huede La MoteM

Henrietde LegliseM

Huede Mons

M

Henry(de Lesglentier)M

Huede Moussures

M

Henry

CornelleM

Huede Rouverel

M

Henry

DauvillerM

Huedu Monchel

M

Henry

de Fresnel

M

Hue

Le Mesureur

M

Henry

de Le Ruelle

M

Hue

CaurasM

Henryde Lesglentier

M

Huet

Bruiant

M

Henry

de LihuzM

Huistacede Harmes

M

Henry

de MillyM

Huistassede Mirelessart

M

Henry

de Saint Rimoult

M

Huitasse

Riquesse

M

Henry

de Saint Rymoult

M

Hurez

de Civrieres

M

Henry

Judas

M

Hustinde Rouviller

M

Henry

Le PoulaillierM

Huystassede Mirelessart

M

Henry

LermiteM

Isabelde Mittry

F

Isabiaudu Quesnel

F

Jacoppin

du Quesnel

M

Jaquesde Boulen

M

Jacquesde Beronne

M

Jaquesde Gournay

M

Jacquesde Marchieres

M

Jaquotinde Baigneux

M

Jacquesle QueuM

Jehan

Aguillon

M

Jacquesl’Empereur

M

Jehan

AlliaumeM

Jaquede Friscamp

M

Jehan

AvisseM

Jaquede RemyM

Jehan

BaudryM

Proceedings of the Caidan Known World Heraldic and Scribal Symposium104Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Jaque

de Sainseval

M

Jehan

Berengier

M

Jaque

du Franccastel

M

Jehan

Bestochie

M

Jaque

Le Flamenc

M

Jehan

BianrtM

Jaque

Le Sene

M

Jehan

Biart

M

Jehan

BigantM

Jehan

de Blangy

M

Jehan

BiguetM

Jehan

de Bleincourt

M

Jehan

BlemartM

Jehan

de BrayM

Jehan

BoguetM

Jehan

de Breteul

M

Jehan

BortoireM

Jehande Bretuel

M

Jehan

BouchierM

Jehande Bucamps

M

Jehan

BoullateM

Jehan

de Bulles

M

Jehan

BoulleM

Jehan

de Bussoire

M

Jehan

BulsartM

Jehan

de Candeville

M

Jehan

BundanzM

Jehan

de Caufferi

M

Jehan

Campdaveine

M

Jehan

de Cauroy

M

Jehan

CampionM

Jehan

de Channevieres

M

Jehan

Camus

M

Jehan

de Chiverieres

M

Jehan

Carbonnier

M

Jehan

de Condé

M

Jehan

ColartM

Jehan

de Courrel

M

Jehan

Coton

M

Jehan

de Cramoisy

M

Jehan

CoupelM

Jehan

de Crapain

M

Jehan

Courtefoy

M

Jehan

de CrocyM

Jehan

Cuer de Roy

M

Jehan

de Croissy

M

Jehan

Dabbecourt

M

Jehan

de Cuigneres

M

Jehan

d’Abbecourt

M

Jehan

de Fenieres

M

Jehan

d’Abbeville

M

Jehan

de Foisseles

M

Jehan

DagonelM

Jehande Foisselles

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium105Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Jehan

d’Agonnel

M

Jehan

de Fontaines

M

Jehan

d’Andeville

M

Jehan

de Foulleuses

M

Jehan

DaridelM

Jehan

de Fresnoy

M

Jehan

Dars

M

Jehan

de Fumechon

M

Jehan

DaufayM

Jehan

de Gannes

M

Jehan

d’AufayM

Jehan

de Glauges

M

Jehan

DauffayM

Jehan

de Gocourt

M

Jehan

d’AuffayM

Jehan

de Goulancourt

M

Jehan

Dauregnies

M

Jehan

de Gournay

M

Jehan

d’Auregny

M

Jehan

de Guocourt

M

Jehan

de Basentin

M

Jehan

de Hanvoiles

M

Jehan

de Basincourt

M

Jehan

de Hanvoilles

M

Jehan

de Beronne

M

Jehan

de Haussez

M

Jehan

de BeueM

Jehan

de Hemeviller

M

Jehan

de Biaugrant

M

Jehan

de Hemevillers

M

Jehan

de Blacourt

M

Jehan

de Javigny

M

Jehan

de Blaincourt

M

Jehan

de KaisM

Jehande La Male Maison

M

Jehan

de Sablonnieres

M

Jehan

de La Pierre

M

Jehan

de SachyM

Jehande La Saux

M

Jehan

de SainsM

Jehande La Serve

M

Jehan

de Sainsaulieu

M

Jehan

de LandeM

Jehande Saint Aubin

M

Jehan

de Lattre

M

Jehan

de Saint Elies

M

Jehan

de Laurechines

M

Jehan

de Saint Omer

M

Jehan

de Le Bellemaison

M

Jehan

de Saint Remy

M

Jehan

de Le Court

M

Jehan

de Saint-Ernoul

M

Jehan

de Le Fontaine

M

Jehan

de Soisy

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium106Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Jehan

de Le Mare

M

Jehan

de ThereM

Jehande Le Mote

M

Jehan

de Touffreinville

M

Jehan

de Le Neufville

M

Jehan

de Tournelle

M

Jehan

de Le Neuville

M

Jehan

de TrasyM

Jehan

de Le Planque

M

Jehan

de TryeM

Jehande Letrenquie

M

Jehan

de VauxM

Jehan

de Levroimont

M

Jehan

de Vieure

M

Jehan

de Liencourt

M

Jehan

de Villers

M

Jehan

de Linieres

M

Jehan

de Vrederonne

M

Jehan

de Loncpré

M

Jehan

Dennequin

M

Jehan

de Malepart

M

Jehan

DerquesM

Jehande MallyM

Jehan

des Gardinz

M

Jehan

de Marquais

M

Jehan

Des PrezM

Jehande Martincourt

M

Jehan

des Toures

M

Jehan

de Merart

M

Jehan

Deschantelly

M

Jehan

de MeratM

Jehan

Despineuses

M

Jehan

de Monchy

M

Jehan

d’Espineuses

M

Jehan

de Monstoiles

M

Jehan

d’Espineusse

M

Jehan

de Montoiles

M

Jehan

d’Estrées

M

Jehan

de MoucyM

Jehan

DestreesM

Jehande Moustiers

M

Jehan

d’OngnonM

Jehande NansM

Jehan

DoubletM

Jehan

de Nouroy

M

Jehan

du Bozgerout

M

Jehan

de NulliM

Jehan

du Cardonnoy

M

Jehan

de Paillart

M

Jehan

du Cauroy

M

Jehan

de PissyM

Jehan

du Cauroy

M

Jehan

de Pommereux

M

Jehan

du Chastel

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium107Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Jehan

de Rouviller

M

Jehan

du Crotoy

M

Jehan

de Rouviller

M

Jehan

du FourM

Jehan

du Fresnel

M

Jehan

Le BlontM

Jehan

du HamelM

Jehan

Le Bosquellon

M

Jehan

du Mesnil

M

Jehan

Le Bouchier

M

Jehan

du Mesnilg

M

Jehan

Le CaronM

Jehan

du Plaissie

M

Jehan

Le ClercM

Jehan

du PréM

Jehan

Le ClercMJehan

du Quesnel

M

Jehan

Le CoqM

Jehan

du Sauchoy

M

Jehan

Le Cordier

M

Jehan

du Viezfort

M

Jehan

Le Fauqeur

M

Jehan

Dully

M

Jehan

Le FevreM

Jehan

DupuysM

Jehan

Le Flamenc

M

Jehan

EscopartM

Jehan

Le Fournier

M

Jehan

FauquetM

Jehan

Le Gantier

M

Jehan

FaveriauM

Jehan

Le GrantM

Jehan

FavierM

Jehan

Le Jumel

M

Jehan

Fere

M

Jehan

Le LigeM

Jehan

FournierM

Jehan

Le Machon

M

Jehan

GamelinM

Jehan

Le MaireM

Jehan

GoulleMJehan

le maire de Hangest

M

Jehan

GouvieuxM

Jehan

Le Maunier

M

Jehan

GrebertM

Jehan

Le Normant

M

Jehan

GrenonM

Jehan

Le PeléM

Jehan

Grimoult

M

Jehan

Le Picart

M

Jehan

Grout

M

Jehan

le Prevost

M

Jehan

GueroutMJehan

le Queux

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium108Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name

Surname

M/F

Jehan

GuerryM

Jehanle QueuxM

Jehan

HamereM

Jehan

Le SueurM

Jehan

HardelM

Jehan

Le Vasseur

M

Jehan

Harel

M

Jehan

Le Vefve

M

Jehan

Havet

M

Jehan

Le Villain

M

Jehan

HemartM

Jehan

Lescrivain

M

Jehan

Herenc

M

Jehan

Loys

M

Jehan

Hersant

M

Jehan

MaillartM

Jehan

HoudetM

Jehan

Marchant

M

Jehan

Jaquemart

M

Jehan

MarcheM

Jehan

LaffiléM

Jehan

Marguerie

M

Jehan

Le Barbier

M

Jehan

Marle

M

Jehan

Le Bescot

M

Jehan

MartinM

Jehan

Le BlondM

Jehan

Mauchevalier

M

Jehan

MesgretM

JehanneDauregnyF

Jehan

MichaleM

Jehanned’Auregny

F

Jehan

MoinetM

Jehannede BachiF

Jehan

Paix est BonneM

Jehannede Bachieu

F

Jehan

PaquinM

Jehannede Boutenangle

F

Jehan

PasqueM

Jehannede Camberone

F

Jehan

PatrenelM

Jehannede Cuignieres

F

Jehan

Petit

M

Jehannede Foulleuses

F

Jehan

PincelotM

Jehannede Haussez

F

Jehan

PoiletruieM

Jehannede Hemeviller

F

Jehan

PoiletruyeM

Jehannede Jusaincourt

F

Jehan

Polin

M

Jehannede Levremont

F

Jehan

PouchinM

Jehannede Lourme

F

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

109Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Jehan

PoucinM

Jehannede Noyntel

F

Jehan

PoulletM

Jehannede Pressy

F

Jehan

Prouvencel

M

Jehannede Seurville

F

Jehan

RequignardM

Jehannede SoisyF

JehanRiverelM

Jehannede VauxF

Jehan

RogerelM

JehanneDerquinviller

F

Jehan

RougetM

Jehanned’Erquinviller

F

Jehan

Roussiaus

M

JehanneDoutrele

F

Jehan

Soriz

M

Jehannedu Raoust

F

Jehan

TetouletM

JehanneFouqueteF

Jehan

ThibautM

Jehannela Mairesse

F

Jehan

TillartM

Jehanne

La Rousse

F

Jehan

TorcharsM

JehanneLe Mairesse

F

Jehan

Triquotel

M

JehanneMalenoueF

Jehan

VaillantM

JehanneMerledoit

F

Jehan

VillainM

Jehannetde Morelle

M

Jehan

Vincent

M

Jehanninde Beronne

M

Jehan

VinoucheM

Jehanninde Hanvoilles

M

Jehan

VuiderueM

Jehannon[Nicaise]F

Jehanin

Le FevreM

Jehannonde TouffreinvilleF

Jehanin

Le SacM

Jehannotde BlaincourtM

JehanneAnnuele

F

Jorre

Loys

M

JehanneBaudescot

F

Juliandes Essars

M

JehanneCaletote

F

Katerinede Meleun

F

Lambelin

Le Parmentier

M

L’Ideux

de Noyntel

M

Lancelotde Rouviller

M

Lohierde Villers

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium110Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Lancelotd’Estoy

M

Lorensde Pierrepont

M

Langelotde Rouviller

M

LorensDes QuesnesMl’Angelot

de Rouviller

M

LorensFouquetM

Laurenz

Machelee

M

LorensLe CharonM

Le Besquede Faiel

M

LorensLe SeneM

Le Borgne

de Le Tournelle

M

Lorenzde Saint JoireM

Le Borgne

de Nouroy

M

LorenzMacheleeM

Le Borgne

de Paillart

M

LotartLe JoenneM

Le Breton

DaunoyM

Louvetde Hemeviller

M

Le Camusde MeryM

Loy

de Souvegny

M

Le Hessede Campremy

M

Loys

d’AussyM

Le Vertde SillyM

Loys

de Souvigni

M

Lechinede Bacquencourt

M

Loys

d’Erqueri

M

LermiteMauchevalier

M

Loys

d’Esquery

M

LestonnéDaunoyM

Lyonnelde Sorel

M

Mahieu[Daridel?]M

Mahieude Hangest

M

MahieuAu CostéM

Mahieude Hardivillier

M

MahieuAu CosteM

Mahieude Lesglentier

M

MahieuBulletM

Mahieude Leuroimont

M

MahieuDamiens

M

Mahieude Milon

M

MahieuDaridelM

Mahieude Vienon

M

MahieuDatiesM

Mahieud’Erquinviller

M

Mahieude Ausoviller

M

Mahieudu Quenel

M

Mahieude Beronne

M

Mahieudu Quesnel

M

Mahieude CandevilleM

MahieuLe Joene

M

Mahieude Caumont

M

MahieuLe RoyM

Mahieude Framicourt

M

MahieuMalin

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium111Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Mahieude Haloy

M

MahieuNicolasM

ManessierBatavaineM

Margueritede Laigny

F

Manessierdu Quesnel

M

Margueritede Lardieres

F

Manessier

Guerout

M

Margueritede Songons

F

MaquetMauchevalier

M

MarguotMarie

DauregnyF

Marie

de Longueavesne

F

Marie

de Burles

F

Marie

de Noirmont

F

Marie

de Candeville

F

Marie

de Rouviller

F

Marie

de Foulleuses

F

Marie

de Sechelles

F

Marie

de Lardieres

F

Marie

de Senicourt

F

Marie

de Lodencourt

F

Marie

de Villepoiz

F

Marie

de Longue Avesne

F

Marie

du Caurel

F

Marionde BacouelF

Martinde Montmartin

M

MartelDerches

M

Martindu Plessier

M

MartinCanéeM

MartinLe Vasseur

M

MatelinFaverelM

Matelin

Le Fevre

M

Maucourant

Le Clerc

M

Merlindu Four

M

Michaut

CanetelM

MichielLe Quesne

M

Michaut

du Quesnel

M

MichielRondelM

Michielde Plainval

M

MichielToupetM

Millele PrevostM

MiqhielLe Quesne

M

Morel

de Hanvoiles

M

Moreletd’Estreez

M

Nicaisede Fontaines

M

NicoleDars

M

Nichaise

Le FevreM

Nolde Ravenel

M

NicolasBraqueM

NyvartMauchevalier

M

Odion

Tremoire

M

OudartEry

M

Olivierde Lineres

M

OudartLe Blanc

M

F

Proceedings of the Caidan Known World Heraldic and Scribal Symposium112Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name

Surname

M/F

Oste

Havet

M

OudartLe Candelier

M

OudartBaudescot

M

OudartLe Joine

M

Oudartde Blaincourt

M

Oudartle Queux

M

Oudartde Boulaincourt

M

OudartLe Serrurier

M

OudartDerqueryM

OudartMaillart

M

Oudartdu Mesnil

M

OudartMalet

M

Oudartdu Quesnel

M

OudinetDestoyM

Oudartdu ValM

Paon

Des Quenes

M

Paonnetdes Quesnes

M

Paquier

Le Villain

M

Pelerinde MeruM

Pepin

DaridelM

Peppind’AridelM

Perceval

de Gournay

M

Perrenelle

de Bucamps

F

Perrinde Saint-Aubin

M

Perrotde Bequerel

M

PerroteAubourcF

PerroteLe MauniereF

PerroteAubourtF

PerroteLe PelletiereF

Perroted’AuregnyF

Phelippede BeauvaizMPhelippede CruelM

Phelippede Maisieres

M

Phelippede FoulleusesM

Phelippe

Florent

M

Phelippele Bosquellon

M

Philippe

BoquetM

Philipot

Des Quesnes

M

Philippe

BulsartM

Philipot

JonquetM

Philippe

d’Abbecourt

M

Philipped’Aufay

M

Philippede Maimbeville

M

Philippe

d’Auviller

M

Philippede Nointel

M

Philippede Cuise

M

Philippede Senlis

M

Philippede Farecourt

M

Philippede Vaux

M

Philippede Foulleuse

M

Philipped’EstreesM

Philippede Houdainville

M

Philippe

du BusM

Proceedings of the Caidan Known World Heraldic and Scribal Symposium113Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Philippede La Tournele

M

Philippe

Le Bosqueillon

M

Philippot

de Cramoisy

M

PierreCompaing

M

Pierede Grisy

M

PierreCrespelM

PierreBequetM

Pierred’Abbecourt

M

PierreBequetM

PierreDarionM

PierreCaoulleM

PierreDauviller

M

Pierred’Auviller

M

Pierrede Flavy

M

Pierrede Betemboz

M

Pierrede Fransieres

M

Pierrede Blangy

M

Pierrede Fumechon

M

Pierrede Burles

M

Pierrede Glategny

M

Pierrede Dargies

M

Pierrede Goulancourt

M

Pierrede Hangest

M

Pierrede Lespinay

M

Pierrede Havrechy

M

Pierrede Lieuviller

M

Pierrede Laverchines

M

Pierrede Lully

M

Pierrede Le Quiese

M

Pierrede Martincourt

M

Pierrede Lequiese

M

Pierrede MeriM

Pierrede MeryM

Pierrede Pernes

M

Pierrede Milly

M

Pierrede Remerangle

M

Pierrede Mons

M

Pierrede Reteul

M

Pierrede Montathere

M

Pierrede Roteleu

M

Pierrede Noyntel

M

Pierrede Saint Aubin

M

Pierrede Saint Vaast

M

Pierrede Saulonnieres

M

Pierrede Saint-Just

M

Pierrede Songons

M

Pierrede Saint-Pol

M

Pierrede Sormont

M

Pierrede Saintuel

M

Pierrede There

M

Pierrede Sarcus

M

Pierrede Wadivoie

M

Pierrede Wavegnies

M

Pierredu BozM

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

114Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Pierredes Prez

M

Pierredu Boz Aubert

M

PierreDescantelli

M

Pierredu Brule

M

Pierred’Espineuses

M

Pierredu BusM

PierreDomontM

Pierredu GaletM

Pierredu HamelM

PierreFauquetM

Pierredu Mont

M

PierreGorgedieu

M

Pierredu PréM

PierreGouvionM

Pierredu PuysM

PierreGueroult

M

Pierredu ValM

PierreGuerout

M

PierreHurtaut

M

PierreLe Maire

M

PierreLe Bailleu

M

Pierrele Maunier

M

PierreLe Cuvelier

M

PierreLe MezM

PierreLe Fevre

M

PierreLe MireM

PierreLe Fournier

M

PierreLe Moine

M

PierreLe Pastissier

M

PierreLe Tonnelier

M

PierreLe Preux

M

Pierrele Werne

M

PierreLe Prevost

M

PierreLiesseM

PierreLe RoyM

PierreLorensM

PierreLe SelierM

PierreMalamiM

PierreMalepoeM

PierreParis

M

PierreMaletrache

M

PierreSarasin

M

PierreMariavale

M

PierreSarazin

M

PierreMignotM

PierreSauvageM

PierreMorel

M

PierreToussainz

M

PierreTronartM

Poissantde Le Tournelle

M

PierreWastebléM

Porrusde Laurechines

M

Poissantde La Tournele

M

Poteaude Villers

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

115Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Quartierde Nedonchel

M

Raoul

CaruelM

Raoulde Ruisseloy

M

Raoul

de BaubeMRaoulde Saintines

M

Raoul

de Cuignieres

M

Raoul

de SorelM

Raoulde FayelM

Raould’Estreez

M

Raoul

de Fontaines

M

Raoul

HacherenM

Raoulde Forest

M

Raoul

Mauchevalier

M

Raoul

de Fricamps

M

Raoul

Noel

M

Raoul

de Friscamps

M

Raoul

Pailloaiz

M

Raoul

de Laudencourt

M

Raoul

Paillouel

M

Raoul

de Lodencourt

M

Raoul

PatrenelM

Raoul

de Longueyave

M

Raoul

PoulletM

Raoulde MoryM

Raoul

VivienM

Raoulde Ricourt

M

Raoul

de Ruisseloi

M

Raoulinde Fricamps

M

Raoulin

Le Carpentier

M

RaulinMauchevalier

M

Regnautde Bucamps

M

Regnault

de Cramoisy

M

Regnaut

de Castegnier

M

Regnault

du Helloy

M

Regnaut

de Chepoy

M

Regnaut

BernartM

Regnautde Cramoisy

M

Regnaut

Daumecourt

M

Regnaut

de Fayel

M

Regnaut

de Framicourt

M

Regnautde Milly

M

Regnautde Glategny

M

Regnaut

de Saint Ernoul

M

Regnaut

de Hardencourt

M

Regnautde SorelM

Regnaut

de Havrechy

M

Regnautde TereM

Regnautde Laudencourt

M

Regnaut

de Tilloy

M

Regnautde Trie

M

Regnaut

du Mont

M

Regnautde TryeM

Regnaut

Le Chevalier

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

116Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Regnaut

Despaux

M

Regnaut

Le Clerc

M

Regnautd’EstoyM

Regnautle Maire de Sernoy

M

Regnautd’Estreés

M

Regnaut

Le Quartier

M

Regnaut

Merledoit

M

RichardDurpainM

Remy

Osouart

M

RichardHardelM

Renierde Quevauviller

Richardle MaonM

Requignart

de Faiel

M

RichartLe Maire

M

Richardde Caumont

M

Richaut

GorgetM

Rifflardd’Estreés

M

RobertBuquetM

RobertBailletM

RobertCueretM

RobertBigan

M

Robertde Bonneulg

M

RobertBontemps

M

Robertde BureM

RobertBoulateM

Robertde GenouvilleM

Robertde Lardieres

M

RobertDes Quesnes

M

Robertde Pleinval

M

RobertDrugeronM

Robertde Renete

M

Robertdu BoisM

Robertde Sains

M

Robertdu Plessie

M

Robertdes PonsM

Robertdu Plessis

M

RobertFretelM

RobertLe RatM

RobertGueroudeM

RobertPaon

M

RobertHardi

M

RobertSouspirant

M

RobertLe Clerc

M

Robin

De Sachy

M

Robin

Jehan

M

Robin

PicartM

Robin

Le Conte

M

Rogierde Foulleuses

M

Saussetde Fresnel

M

Symon

de Cuignieres

M

Saussetde Le Neuville

M

Symon

de Dargies

M

Saussetde Mauchevalier

M

Symon

de Luisiers

M

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

117Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name

Surname

M/F

SaussetMauchevalier

M

Symon

de Vaumain

M

Sauvagede Brunviller

M

Symon

d’Erquinviller

M

Simon

Derquinviller

M

Symon

d’EspauxM

Simon

des PrezM

Symon

du Plousel

M

Simon

Mulet

M

Symon

du SartM

Soudindu Quesnel

Symon

Fere

M

Symon

Langle

M

M

Symon

Le Bouchier

M

M

Symon

Le Fourbeur

M

SouffisantSouldin

Morel

Soullart
Symon

de Blaincourt

M

Symon

Le Vasseur

M

Symon

de Bleincourt

M

Symon

RoitelM

Symon

de Courcelles

M

Symonnet

du Plousel

M

Tartarinde l’EglentierM

Thiebautdu Cange

M

Tartarinde LesglantierM

Thiebaut

Le Clerc

M

Tartarinde Lesglentier

M

Thomasde Channevieres

M

Tartarin

DorivalM

Thomasde Foulleuses

M

Tartarinde Lesglentier

M

Thomasde La MareM

Tassartdu Tromquoy

M

Thomasde Paillart

M

Tassartdu Waut

M

Thorelde SorelM

Tassinedu Quesne

F

Thoriaude Fores

M

Taupinde Chantemelle

M

TifaineThibautde Maucreux

M

Tristande SoisyM

Thibaut

de Nouroy

M

Tristrande SoisyM

Thibaut

de Saint Remy

M

Tristrandu BozM

Thibaut

du Cange

M

Tristran

Le Bescot

M

Thiebautdu Bosquel

M

Tristran

QuieretM

Vallentin

OngletM

Vincent

Goullois

M

F

Proceedings of the Caidan Known World Heraldic and Scribal Symposium118Some Names from Picardy in the 14th Century

Given Name Surname

M/F

Given Name Surname

M/F

Vigier

Waroult

M

Vincent

Le Fevre

M

Vincent

du Quesnel

M

Wale

de Monchiaux

M

Werne

de Cressy

Walede Montegny

M

Willequin

Maraz

Warin

de VendeuilM

WitasseDiavertM

Warinde Vendueil

M

Wytassed’Alonne

M

WatierMauchevalierM

Yolandde Varennes

F

YsabelLe BoursièreF

Yolantde Varennes

FYsabiauBoterelleF

Ysabelde Hecourt

F

Ysabiaude FaielF

Ysabelde SainzF

Yves

Le FaeM

Ysabelde SoisyF

Yzabelde Jusaincourt

F

Ysabeld’Estrees

F

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

119Some Names from Picardy in the 14th Century

Given names:
The given have been organized by gender and alphabetically and thenumber of times when they were encountered in the document is indicated.
As often, there were much more male than female given names collected.
Table 2: Feminine given names
Given names # times encountered

Given names# times encountered

Aelipz3

Agnote

1

Aelis

1

Ameline2Agnès3

Angnès1Agnés

1

Avise

1

Agnez

1

Bietrix

1

Blanche2

Colaie1

Colaye2Ermine2

Florence2

Gillete1

Guillemette

2

Guerarde

1

Isabel1Isabiau1

Jehanne39

Jehannon2

Katerine

1

Marguerite

4

Marie

14

Marguot

1

Marion1

Perrenelle

1

Perrenelle

1

Tassine1

Tifaine1

Yoland1

Ysabiau3

Yolant1

Yzabel1

Ysabel5

Proceedings of the Caidan Known World Heraldic and Scribal Symposium120Some Names from Picardy in the 14th Century
Table 3: Masculine given names
Given names # times encountered

Given names# times encountered

Adam

6

Ansel

2

Adan

1

Anselet

1

Alis

1

Ansoult

3

Alliaume

1

Arnoul1

Alphonz

1

Aubert

5

Ancel

1

Aubery1

Ancelet

3

Aubin

1

Andrieu

4

Aubry

4

Baudechon

1

Bertin1

Baudesson

1

Bertran1

Baudoin1

Blondel1

Bauduin4

Bordel

1

Belot

1

Bordelet2

Bernart1

Bouchats

1

Bertaut

4

Briet

1

Berthat1

Brouet1

Berthaut

2

Brunet1

Challes1

Colart22

Charle

1

Colin

5

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

121Some Names from Picardy in the 14th Century

Given names # times encountered

Given names# times encounteredCharles6

Colinet1

Chevrel1

Cordelet1

Claudin1

Cordelier1

Climent

3

Cornu

2

Colard1

Crespin

1

Denys

2

Drouynet

1

Desramé2

Duvelin

2

Drieu

11

Engueran

4

Esteve2

Ernoul2

Estienne8

Estandart

1

Estonné1

Estene1

Eustace

6

Ferry

1

Foullet1

Firmin2

Fouquaut

1

Florens

4

Franois1

Florent1

Fremin1

Florot1

Froissart

1

Gautier

2

Guiars1

Gauvain6

Guiart3

Gauvains

1

Guichart Nel

1

Geffroy

1

Guiet

1

Gieffroy

1

Guillaume

38

Gile

15

Guillebert

3

Gilles7

Guillemin

1Gillet7

Guillot2

Godefroy

2

Guiot

1

Gouchart

1

Guy

9

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

122Some Names from Picardy in the 14th Century

Given names # times encountered

Given names# times encountered

Griffon2

Guyars1Grongnart

2

Guyart5Grongnet

1

Guyot

1

Guerart11

Hannequin1

Honoré1Harpin

1

Hoste

2

Havet

3

Hue

11

Havot

1

Huet

1

Hebert1

Huistace

1

Hector1

Huistasse

1

Henri

4

Huitasse

1

Henriet

1

Hurez

1

Henry

16

Hustin1

Herpin2

Huystasse

1

Jacoppin1

Jehanin2

Jacques4Jehannet

1

Jaque

6

Jehannin2

Jaques2

Jehannot1

Jaquotin

1

Jorre

1

Jehan

285

Julian1Lambelin

1

Lermite1

Lancelot2

Lestonné1Langelot

1

L’Ideux

1l’Angelot

1

Lohier1

Laurenz1

Lorens5

Le Besque1

Lorenz2

Le Borgne

3

Lotart1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

123Some Names from Picardy in the 14th Century

Given names # times encountered

Given names# times encountered

Le Breton

1

Louvet1

Le Camus

1

Loy

1

Le Vert

1

Loys

4

Lechine1

Lyonnel

4

Mahieu26

Merlin1

Manessier

3

Michaut2

Maquet1

Michiel4

Martel

1

Mille

1

Martin4

Miqhiel1Matelin

2

Morel

1

Maucourant

1

Morelet1

Nicaise1

Nicole1

Nichaise

1

Nol

1

Nicolas1

Nyvart

1

Odion

1

Oudart16

Olivier1

Oudinet

1

Oste

1

Paon

1

Phelippe

6

Paonnet1

Philipot

2

Paquier

1

Philippe

17

Pelerin1

Philippot

1

Pepin

2

Piere

1

Peppin1

Pierre103

Perceval

1

Poissant2Perrin1

Porrus1

Perrot1

Poteau1

Quartier

1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

124Some Names from Picardy in the 14th Century

Given names # times encountered

Given names# times encountered

Raoul

27

Richard4

Raoulin2

Richart1

Raulin1

Richaut

1

Regnault

2

Rifflard

1

Regnaut

28

Robert

26

Remy

1

Robin

4

Requignart

1

Rogier1

Sausset4

Souldin1

Sauvage

1

Soullart

1

Simon

3

Symon

17

Tartarin

5

Thomas4

Tassart2

Thorel1

Taupin1

Thoriau1

Thibaut

4

Tristan1

Thiebaut

3

Tristran

6

Vallentin

1

Vincent

3

Vigier1

Wale

2

Watier1

Walles1

Witasse

2

Warin

2

Wytasse

1

Yves

1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

125Some Names from Picardy in the 14th Century

Surnames:
The surnames have been organized alphabetically and the number of times
when they were encountered in the document is indicated.
Table 4: Surnames
Surnames# times encountered

Surnames# times encountered

Aguillon

1

Au Coste1

Alliaume

1

Aubourc

1

Anguot1

Aubourt1

Annuele1

Avisse1

Au Costé

1

Baillet1

Bonnardel

1

Barde

1

Bonnevie

1

Batavaine

1

Bontemps

1

Baudescot

2

Boquet1

Baudry1

Bortoire

1

Beliave

1

Bosquet1

Bequet2

Boterelle1

Berengier

1

Bouchier

1

Bernart1

Boulate2

Bestochie

1

Boullate

2

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

126Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encountered

Bianrt1

Boulle

1

Biart

1

Bouvier

1

Bigan

1

Braque1

Bigant1

Bruiant

1

Biguet1

Bullet1

Blemart1

Bulsart2

Boguet1

Bundanz

1

Boguet en Lardieres

1

Cailleur

1

Cauras

1

Calet

1

Colart1

Caletote

1Compaing

1

Campdaveine

1Cornelle

1

Campion1

Cosete

1

Camus

1

Coton

1

Canée1

Coupel1

Canetel1

Courtefoy

1

Canevas1

Crespel1Caoulle1

Crouset1

Carbonnier

1

Cuer de Roy

2

Caruel2

Cueret1

Dabbecourt

1d’Agonnel

1d’Abbecourt

3d’Alonne

1d’Abbeville

1

Damiens1

Dagonel1d’Andeville1d’Antoing1

de Betemboz

1Daridel4de Beue

1d’Aridel2

de Biaugrant1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

127Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encountered

Darion1

de Biaurepaire

1

Dars

2

de Blacourt

1

d’Ars

1

de Blaincourt

5

Darsiz1

de Blangy

3

Darsy

1

de Bleincourt

3

Dartois1

de Bonneulg

1

Daties1

de Boulaincourt

1

Daufay1

de Boulen

1d’Aufay3

de Boussiaus

1

Daufegnies

1

de Boutenangle

1

Dauffay1de Bray

1d’Auffay2

de Bresche

1Daumares2de Breteul

2

Daumecourt

2de Brueil

1

Daunoy2de Bruel

1

Daunoy1de Brunviller

1

Dauregnies

1de Bucamps

3

Dauregny2de Bulles

2d’Auregny3

de Bure1

Daussy1de Burles

4

Dauterville1de Bussoire

1

Dauviller2de Camberone

1d’Auviller

3

de Camelin

1

de Ausoviller

1de Campremi

1de Bachi2de Campremy

6de Bachieu

1de Candeville4de Bacouel1

de Castegnier

1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium128Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encounteredde Bacquencourt

1de Castenoy

1de Baigneux

1de Caufferi

1

de Balaigny

2

de Cauffery

1de Balaigny

1de Caumont

2de Balegny

1de Cauroy

3de Balengny

1de Channevieres

2

de Barly

1de Chantemelle1de Basentin

1de Charni

2de Basincourt

1de Chastellon

1de Baube1

de Chepoy2de Beaumont

1de Chiverieres

1

de Beauvaiz

2de Civrieres

1

de Belloy

1de Clary2de Bequerel

1

de Coivrel

1

de Beronne

8de Condé1de Coudun

1

de Gournay

4

de Courcelles

1

de Goy1de Couriaux

1de Grisy1de Courrel

1

de Guocourt1de Cramoisy

5de Haloy1de Crapain

2

de Hangest

3de Creelg

1de Hanvoiles

3de Cressy

1de Hanvoilles

2de Crocy

1de Hardencourt3de Croissy

1de Hardivillier

1de Cruel1

de Hargenlieu

2de Cuigneres

6de Harmes

2

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

129Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encounteredde Cuise2de Haussez

2

de Dargies

2

de Havrechy

2

de Dargies

1

de Hecourt

1de Dompierre

1de Helly1de Dyve1

de Hemeviller

4de Espaielles

1de Hemevillers

1de Faiel4

de Hez1de Farecourt

1de Houdainville1de Fassequele

1de Javigny

1de Fayel2de Jusaincourt

3de Fenieres

3

de Kais1

de Flavy

1de La Grange

3de Foisseles

2de La Male Maison

1de Fontaines3de La Mare

1de Fores1de La Mote1de Forest1

de La Pierre

1de Foulleuse1de La Saux

1de Foulleuses8de La Serve1de Framicourt

2de La Tournele3

de Fransieres

4de Laigny1

de Fresnel

2de Laittre1

de Fresniaux

1de Lande1

de Fresnoy3de Lardieres

4

de Fricamps2de Lattre1

de Friscamp2

de Laudencourt

2de Fumechon

4de Laurechines

2de Gannes

1de Laval

2

Proceedings of the Caidan Known World Heraldic and Scribal Symposium130Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encounteredde Gavres1de Laverchines1de Genouville1de le Banne

1de Glategny

2de Le Bellemaison

1de Glauges

1de Le Beue

1de Gocourt

1de Le Chapelle

1de Goulancourt

2de La Tournele3

de Le Court

1de Malepart1de Le Cousture1

de Mally1de Le croix

1de Marcelles

1de Le Fontaine

1de Marchieres

1

de Le Mare3de Marquais

1de Le Mote

4de Martincourt

2de Le Neufville

1de Maubeuge

1de Le Neuville2de Maucreux

1de Le Place1

de Meleun1de Le Planque1de Merart

1

de Le Porte1de Merat1

de Le Quiese

1

de Meri1

de Le Rendoe

1

de Meru1de Le Ruelle

1de Mery2

de Le Tournelle3de Mez1de l’Eglentier1de Mileressart

1de Leglise

1de Miliersart

1de Lens1

de Milly

9de Lequiese

1de Milon1de Lesglantier1de Mirelessart

2de Lesglentier

7de Mittry

1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

131Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encounteredde Lespinay

1de Monchaux1de Letrenquie

1de Monchiaux

1de Leuroimont

1de Monchy

2de Levremont

1de Mons2de Levroimont

1de Monstoiles

1de Liencourt

4de Montathere

1de Lieuviller

2de Montegny

2de Lieuvillier

1de Montmartin

1de Lihus

3de Montoiles

1de Lihuz

1de Moregnies

1de Lineres1de Morelle

1de Linieres

2

de Moremont

1de Lodencourt

2de Mory1de Lonclieu

3de Moucy

1de Loncpré

1de Moussures2

de Longue Avesne

1de Moustiers

1de Longueavesne

1de Mouy1de Longueyave

1de Nans1

de Lourme1

de Nedonchel

1de Luisiers

1de Neelle1de Lully1

de Nery1de Maignelers

2de Nointel

1de Maimbeville3de Noirmont

1de Maisieres

1de Nouroy

4de Noyntel

3de Saint Germer

1de Nulli2

de Saint Joire

1de Nully3

de Saint Omer

1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium132Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encounteredde Paillart

3

de Saint Remy

2

de Pernes

1de Saint Rimoult

2de Pierrepont

1de Saint Rymoult

1de Pisseleu

1de Saint Vaast

1de Pissy

1de Saint-Aubin

2de Plainval

1de Saint-Ernoul

1de Pleinval

1de Saintines

1de Poiz1

de Saint-Just

1de Pommereux

1de Saint-Pol

1

de Pomponne

1de Saint-Rymoult

1de Ponchaux2de Saint-Sauflieu

1de Ponponne

1de Saintuel1

de Pontmolain

1de Sainz

1

de Pressy

1de Sarcus

1de Quevauviller

1de Saulonnieres

1de Ravenel

1

de Sechelles

1de Recule1

de Senicourt

1de Remerangle

1de Senlis

1

de Remy1

de Seurville1de Renete1de Silly

1de Reteul

1de Soicourt

8de Ricourt

1de Soisy

3

de Rieux1de Songons

5

de Rivellon

1de Sorel1de Rost1

de Sormont

2de Roteleu

1de Souvegny

1de Roumescampz

1de Souvigni

1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium133Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encounteredde Rouverel

1de Tere2de Rouviller

14de There3

de Rucourt

1de Tilloy

2de Ruisseloi

1de Touffreinville1de Ruisseloy

1de Tournelle1de Ruysseloy

1de Trasy

1de Sablonnieres

1de Traynel

1de Sachy3de Trie2de Sailleville1de Trye1de Sains

2

de Turqueteville2de Sainsaulieu

1de Valescourt2de Sainseval

1de Varennes

1de Saint Aubin

2

de Vaumain

4de Saint Elies

1de Vaux

1

de Saint Ernoul

2de Velanne

2de Vendeuil

1

Dorival1

de Vendueil

1d’Orly2de Vienne

1

Doublet1de Vienon

1

Doutrele1de Vieure

1

Drugeron1de Ville1

du Bois1

de Villepoiz

6

du Bosquel5de Villers

1

du Boz1de Vrederonne

1

du Boz Aubert

1de Wadivoie

1

du Bozgerout

1de Wavegnies

1

du Bruille

1

Dennequin

1

du Brule

2

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

134Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encountered

Derches1

du Bus2d’Erqueri

1

du Cange1

Derquery1

du Cardonnoy

1

Derques1

du Caurel2

Derquieux

2

du Cauroy2

Derquinviller

3

du Chastel

1d’Erquinviller

1

du Crocq

1

des Boues

1du Crotoy

3

des Essars

1

du Four2

des Gardinz

1

du Francastel

1

des Pons3

du Fresnel

1

des Prez

5

du Galet2

des Quesnes

1du Hamel2

des Toures

1

du Helloy

1

Descantelli

1du Marchié

3

Deschantelly

1

du Mesnil

1d’Eschantelly

1

du Mesnilg

1d’Espaieres

1

du Mez1

Despaux

1

du Monchel

2d’Espaux

1

du Mont

1

Despineuses

3

du Moustier1d’Espineuses

1du Plaissie

2d’Esquery2

du Plessie

1

Destoy2du Plessie Brion

1d’Estoy4

du Plessier

1d’Estrées

1

du Plessis

2

Destrees4du Plousel

1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

135Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encounteredd’Estrees3

du Postiz

2d’Estreez

1

du Pré1

Diavert1

du Puis1

Domont1

du Puys1d’Ongnon1

du Quemin

3

d’Ons

1

du Quenel1

du Quesne

12du Tromquoy

2

du Quesnel

1

du Val1

du Raoust1

du Viezfort

1

du Ru

1

du Waut

2

du Sart1

du Wez1

du Sauchoy

1

Dully

1

du Saulon

1

Dupuys1

du Tenement1

Durpain1

du Tieuloy

1

Dyvort1

Ery

1

Escopart

1

Fauquet2

Florie1

Faverel1

Fouquet2

Faveriau

1

Fouquete

1

Favier1

Fournier

2

Fere

2

Fretel1

Florent

1

Gamelin1

Grimolt

1

Gerout1

Grimoude1

Gorgedieu

1

Grimoult

1

Gorget

1

Grout

1

Goulle1

Guepine1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

136Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encountered

Goullois

1

Gueroude1

Gouvieux

1

Gueroult

1

Gouvion3

Guerout

4

Grebert1

Guerry1Grenon1

Guillot

1

Hacheren1

Hemart1

Hamere1

Herenc1Hardel2

Hersant

1

Hardele1

Hoquerel

1

Hardi

1

Houdet

1

Harel

1

Hurtaut

1

Havet

3

Jaquemart

1

Jonquet

1

Jehan

1

Judas

1

La Gache1

Le Besquote1

la Mairesse

1

Le Blanc

1

La Rousse

1

Le Blond1

Laffilé1

Le Blont

1

Langle1

le Boiteux

1

Le Bailleu

1

le Bosqueillon

1

Le Bailly

1

Le Bosquellon

2

Le Barbier

1

Le Bouchier2

Le Begue

1

Le Boursière1

Le Bescot

3

Le Brun2

Le Candelier

1

Le Moine

2

Le Caron1

Le Normant

1

Le Carpentier

1

Le Parmentier

2

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

137Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encountered

Le Cercelier

1

Le Pastissier

1

Le Charon

1

Le Pelé1

Le Chevalier

1

Le Peletiere

3

Le Clerc

8

Le Picart

1

Le Conte

1

Le Poulaillier

1

Le Coq

1

Le Preux

1

Le Cordier1

le Prevost

3

Le Cuvelier

1

Le Quartier1

Le Fae1

Le Quesne

2

Le Fauqeur

1

le Queu

1

Le Fevre7

le Queux3

Le Flamenc

2

Le Rat1

Le Forestier

1

Le Roux

2

Le Fourbeur

1

Le Roy2

Le Fournier

2

Le Sac1

Le Gantier

1

Le Selier

1

Le Gay1

Le Sene2

Le Grant

1

Le Serrurier

1

le Hanon1

Le Sueur1

le Joene3

Le Tavernier

1

Le Joine

1

Le Tonnelier

1

Le Jumel1

Le Vasseur

3

Le Latimier

1

Le Vefve

1

Le Lige

1

Le Villain

2

Le Lorrain

2

le Werne1

le Maon1

l’Empereur

1

Le Machon

2

Lermite1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium138Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encountered

Le Maire9

Lescot1

Le Mairesse1

Lescripvain

1

Le Majeur

1

Lescrivain

1

Le Mareschal

1li Asnes1

le Maunier2

Liegart1

Le Mauniere

1

Liesse1

Le Mesureur

1

Lorens1

Le Mez1

Lostelier1

Le Mire

1

Loys

2

Machelee2

Maletrache

1Maillart

2

Malin

1

Malami1Marée1

Malenoue

1

Maraz

1

Malepoe1Marc d’Argent

1

Malet

2

Marchant

1

Marche1

Merledoit

2

Margue1

Mesgret1Marguerie

1Michale1

Mariavale1

Mignot

1

Marle

1

Moinet1

Martel

1

Morel

3

Martin1

Moucheron

1

Mauchevalier

9

Mulet

1

Nicaise

1

Noel

1

Nicolas1

Onglet1

Osouart1

Pailloaiz

1

Pincelot

1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium139Some Names from Picardy in the 14th Century

Surnames# times encountered

Surnames# times encountered

Paillouel

1

Poiletruie

1

Paix est bonne

2

Poiletruye

1

Paon

1

Polin

1

Paquin1

Pouchin

2

Paris

3

Poucin1

Pasque1

Poullet2

Patrenel2

Poupart

1

Petit

1

Prouvencel

1

Picart1

Pincelot

1

Quieret2

Rogerel1

Requignard

2

Roitel1Requignart

1

Rondel1

Riquesse

2

Rouget1

Riverel1Roussiaus

1

Rochele1

Rogerel1

Sarasin

1

Soriz

1

Sarazin1

Souspirant

1

Sauvage1

Tetoulet1

Toupet1

Thibaut

1

Toussainz

1

Thonnel1

Tremoire

1

Tillart1

Triquotel

1

Tirlen1

Tronart1

Torchars

1

Troussiaux

1

Vaillant

1Vinouche

1

Velouste1

Vivien1Villain1

Vuiderue

1

Vincent

1

Proceedings of the Caidan Known World Heraldic and Scribal Symposium140

Some Names from Picardy in the 14th Century

Surnames # times encountered

Surnames # times encountered

Waroult

Wasteblé11References
1. Documents d’héraldique médiévale Série in 4 - 1 - Armorial dudénombrement de la Comté de Clermont en Beauvaisis 1373-1376
Published by Michel Popoff Edition du Léopard d’or 1998 ISBN 286377-154-X

About the Author
Mathilde Poussin was born in France and moved to the US after her Immunology
PhD to work as a postdoctoral Fellow in Galveston, TX. She has since been working
in research laboratories. She joined the SCA shortly after moving to Philadelphia
in 2002.
Chrestienne la pescheresse, current Ivy pursuivant, lives in the Bailiwick ofIvyeinrust in the East Kingdom and is a warranted fencing marshal, a scribe anda cook. She is also a member of the Sisterhood of Saint Walburga.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium

141Annexe A: Liste des participants
venus d’autres villes en 1435
A list of contestants who came from other cities in1435, sorted by city of origin from the manuscript#31838: Bibliothque nationale de France
Mathilde Poussin (Chrestienne la pescheresse)
La noble feste de l’Espinette en la quelle se firent joustes et tournoys
en la ville de Lilles l’an 1435, le premier jour de juing estant roy del’Espinette Jean Artus.
The noble festival of the Espinette where jousts and tourneys happened in the Cityof Lille in the year 1435, the first day of June Jean Artus being roy de lEspinette.
Jousteurs de Lille qui joustirent contre tous venants.
Jousters from Lille who fought all comers.

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142Annexe A: Liste des participants venus d’autres villes en 1435

Jean Cannart

Jean Ligniez

Simon de Langl

Jacques de La
Haye

Pierre de Le
Vacquerie

Pierre Fremault

Jean Hangouart

le bastard de
RoubayJean Le Viart

Jean Prevost

Jacques Denis

Loyset de
Scaubecq

Bauduin ly
PreudhommeThomas deBauffermez

Baudart Vertez

Robert deSaint-Venant

Jacquemart
Fermault

PierreHangouart

Pierre Artus

Bernard Regnier

Pierre dePontrevart

BauduinLigniez

Pierre Vertez

Jean Fermault

Jean dePontrevart

Jean Lybar

Denis Gomer

Denis de leCambe

Robert deBauffremez

Jacques deHersent

Huon deTenremondeLotin d’Ablin

Jean deQuienlen

Guillaume de
Warenghien

Porus de Has

Jacques Prevost

Ullart Cannart

Druars Paladin

Les jousteurs de la ville de Tournay qui vinrent en noble arroy avecq
estendars.
Jousters from the City of Tournay who came in noble array with their standards

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Pierre le Musy

Jean deHellemes

Pierre deSaint-Genois

Louis deHellemes

Louis deCallonne

Jacques Vilain

Denis Cottrelle

Grard deHurtebise

Lion de Clerms

Denis Mouton

Jean Cottrel

Jean de Barry

Denis
BonenfantBernardThiebegot

Jean Prevost

Olivier Gargatte

Jean Wettin

Nicolas deClermsGuillaume
PrevostLaurent deWatripont

Pierart Wettin

Jean Wettin

Jacques
Bourgeois

Sandrart Villain

Jacques Wettin

Jean Bracque

Piere Vilain

Les jousteurs de Bruges qui vinrent avec estendars et grande compagnie
pour assister la susdite feste.
Jousters from the City of Bruges who came with standards in big company toattend said festival.

Baptiste Adorne

SalomonArtricke

Oste deGhistelle

Denis Mettenee

Jean de Bourse

Denis
Mareschal

Robert de
Moerkercke

Alexandre deWassanaer

Jacques Artricke

Pierre de Banst

Jean Banc

le bastard de
Wassanaer

Guillaume
Bauderis

Louis Adornele bastard de
Boucq

Julien de Ranst

Louis Artricke

Jean Belle

Jacques deBourseGuillaume
Braderick
Guillaume du
ChastelProceedings of the Caidan Known World Heraldic and Scribal Symposium

144Annexe A: Liste des participants venus d’autres villes en 1435
Jousteurs qui vindrent de Gand par la rivire avecque mlodie des instruments.
Jousters who came from Gand by the river with instrumental music.

Jean d’Untenhove

Denis de Raveschot

Jean Van der Mer

Pierre d’Unten[hove?]

Cornille Borhut

Jean Van MinuteJean de Gruthere

Piere Vilain

Lievin BethPierre BethAlexandre de Pithen

Nicolas Vilain

Louis de La Moer

Lievin de Triest

Les jousteurs qui vindrent de Valenchiennes.
Jousters who came from Valenchiennes

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145Annexe A: Liste des participants venus d’autres villes en 1435

foughtfoughtPierre le Poyure

Le roy del’Espinette.

Jean Grebert

le roy del’Espinette.

Jean le Poyure

Jean deQuienlain.

Simon Bongierle bastard de
Roubaix.

Jacquemont
Bernier

Jean dePontrevart.

Sandrart duMartroit[blanc]Jean de St Sauve

Jacq. Prevost.

Wautier Grebert

Bernard Vergie.

Pierre Brochon

Jacq. Ligni.

Jacqueme
Grebert

BertrandRegniers.

Guillaume
CretteBertrandregnier.

Olivier duBosquelJean Prevost.

Anseau duGardinJean du Lybar.

Lottart deWarny

Huart deTenremonde.

Matthieu
GrebertRobert deBauffremez.

Pierart du bois

Jean ly
Preudhomme.

Guillaume deCarouble

Lotin d’Amblin.

Thomas deSamainBauduin ly Nez.

Waltier Rasoir

PierreThieulaine.

Druart deCuarouble

Bauduin
Preudhomme.

Jean Rasoir

Loisetd’Escaubecque.

Jacques Party

Jacques Prevost.

Les jousteurs qui viendrent de la part de Philippe, duc de Bourgogne,
comte de Flandres pour assister la dite feste.
Jousters who came on behalf of Philippe, Duke of Bourgogne, Count of Flandres,to attend said festival.

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foughtfoughtLe Sr de Roubay

le roy del’Espinette de lapart du Comtede Flandres.

Le Sr WaulinJean Prevost au
nom de lacomtesse.

Roland deComines

Me Jean deHallewin.

Guillebert deLannoy, Sr deBeaumont

Gillesd’Annequin,
dict l’Esclave.

Le Sr de Landas

Me Louiset desFossez.

Percheval deLannoy, Sr de laMottryeJean de Saint
Pierre maisnil,
Sr de Fretin.

Me Louis de Ste
Aldegonde

Me Jacques deLichtervelde.

Jean, Sr de Mez
et de Croix

Me Martin deMortaigne

Le Srd’Enterghem

Me Rombaut de
Poucq.

Jacques deChastillon, Sr
de Dampierre etrollencourt

Le Sr deZueveghem.

References
1. Documents d’hraldique mdivale - 1 - Armorial des rois de l’pinette
de Lille 1283-1486 Published by Michel Popoff Edition du Lopard
d’or 1984 ISBN 2-86377-033-11

About the Author
Mathilde Poussin was born in France and moved to the US after her Immunology
PhD to work as a postdoctoral Fellow in Galveston, TX. She has since been working
in research laboratories. She joined the SCA shortly after moving to Philadelphia
in 2002.
Chrestienne la pescheresse, current Ivy pursuivant, lives in the Bailiwick ofIvyeinrust in the East Kingdom and is a warranted fencing marshal, a scribe anda cook. She is also a member of the Sisterhood of Saint Walburga.

Proceedings of the Caidan Known World Heraldic and Scribal Symposium147

The Odd Couple, Part I: OSCARHow OSCAR is changing the College of Arms
Lewis Tanzos (Tanczos Istvan)
This article is a first attempt to describe for the College of Arms thethought processes, reasoning, and future directions of the online commentary system known as OSCAR.
The old paper submissions process at Laurel, at least the semi-public
parts of it, is reasonably well known. Letters of Intent (LoI) were created and physically mailed to all of the commenters on the mailing list.
These commenters were expected to provide commentary on every letter
received, in letters known as Letters of Comment (LoC). Two months were
provided for so-called ’primary’ commentary. After this, one month wasgiven for rebuttal and response. Decisions were made the following monthand the LoAR was printed and mailed some time after that.
What is not so well known is how the behind-the-scenes process washandled by Laurel staff. A brief review of this process may help explain
the desire for an online, automatic system. Understanding the next section
is not necessary, and those uninterested in the technical details can skip it.
The emailed copy of an RTF document is received by the Laurel Clerk,
one Daniel de Lincoln. Daniel takes that document and adds extra tagging
information to it (called ’markup’) so that a computer program can understand the file format. While much of this process has been automatedthrough the use of MS-Word macros, there is still quite a bit that has to bedone manually. This process must be done to every LoI and LoC received,
and is in Java.
The clerk then takes this marked-up RTF and runs a converter programon it. The converter translates the RTF to XML, and is written in Jade,perl, and some Unix/Windows shell script. Commentary files are then run
through a merge program which adds the commentary into the proper
place in the associated kingdom’s XML version of the LoI. In this way,
a set of merged XML is produced that has each submitted item and theassociated commentary in a single location, one file per kingdom.
The XML is then used (via another Java program) to produce the ’collated commentary’ in RTF. The sovereigns read this information when
making their decisions.
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The Odd Couple, Part I: OSCAR
Each sovereign gets a copy of these XML files. They write their decisions
in XML directly into these files. Both copies are then taken by the postmeeting clerk. They are run through a ’convert XML to RTF’ program,which also catches many of the typing errors. Once the two sets of files
produce no errors in the XML to RTF step, another program is used tomerge the two sets of XML into one. Several hours of manual clean-up
is then performed, and the XML is sent back to the Sovereigns for further
clean-up and review.
Once these files are approved, the XML to RTF process is run, and theresulting RTF is sent out for proofreading. Copyediting is done, again,
directly to the XML.
Final output is the RTF from the last post-proofreading stage. The same
program generates HTML and text versions of the LoAR, plus folder labels
for the Laurel files and a summary of the commentary for each item that is
filed with the submissions forms. The RTF is mailed directly to the printerfor distribution, while the XML is sent to the web teams and for archiving.
Another person keeps track of all letters issued: when they are distributed in hardcopy, when they are distributed to the email lists, when they
are postmarked, etc.
This process is (obviously) a lot of work. It also imposes a set of rules
and requirements, due to the existence of the paper.
First, there is the cost of duplication and mailing of the LoIs and LoCs.
At the time of the transition to OSCAR, there were approximately 65 people
on the mailing list. Letters of Intent had to be mailed to every person on
this list. LoCs were only required to be sent to a limited number of thesepeople, but were generally distributed to the entire College. Doing the costcalculation in several ways, it costs the CoA roughly $10,000 a year simply
to copy and mail these documents. (The September 2003 SquidPak had
21 sheets, which was roughly 1/3 of the CoA correspondence at that time,and it cost roughly $10 per page to mail to all 65 recipients. 20 sheets × 3
times the volume × 12 months × $10/page = $7200. Note that this does notinclude any War letters, which locally run around seven times the usual
size.)
The financial burden of adding a commenter led to several rules. Commenters were expected to comment ‘regularly’ on a significant portion of
the LoI. If the kingdom refused to pay the copying and mailing costs, participating would cost the participant in the neighborhood of $50 per month,depending on the amount of commentary. Very experienced people with
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The Odd Couple, Part I: OSCAR
tightly-focused interests, therefore, had to be left out. Commenting on ten
items a month was not worth the price paid by the entire College to include
someone.

OSCAR Description and Features
OSCAR is the Online System for Commentary and Response. It is a website
connected to a database, structured specifically for storage of LoIs andenabling CoA commentary.
OSCAR is natively UTF-8. This is a way of representing characters on acomputer that allows display of nearly every writing character in existence,from the Roman alphabet to the entirety of Kanji (familiar to most as’Japanese’). All OSCAR input fields support UTF-8, Da’ud notation (suchas “{a’}”), and HTML character entities (such as “&aacute;”). Any Da’udor HTML entities are translated internally into the UTF-8 value, such as“Ã” for storage and later display.
OSCAR supports moderation of commentary. Any commenters canbe flagged so that commentary they post is visible only to them until amoderator verifies that the comment is relevant, not profane, not a personal
attack, etc.
Commentary from non-moderated commenters is available immediately. Moderated commentary is visible as soon as it is validated. This is
in contrast to the paper method, where all commentary was collated on asingle letter over the course of a month. Commentary is also inherently collated: comments are immediately attached to the item being commented
on, there is no special process to be followed before collated commentary
is generated.
Since LoIs in OSCAR are scanned, not photocopied, it is possible toattach color emblazons to the items. This isn’t just eye candy, CoA members can double-check the supplied blazons against a colored emblazon,
something that only a limited number of people have been able to do in
the past. This will hopefully lead to a decrease in items pended because
the blazon on the LoI was incorrect.

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The Odd Couple, Part I: OSCAR

What OSCAR does for us
As members of the College have become more knowledgable as heralds,
many people have chosen to specialize, or have come in with specialized
knowledge. Since their contributions were limited to a few items eachmonth, it was not cost-effective to add them a general commenters.
OSCAR, on the other hand, has no recurring cost to add a commenter.
OSCAR would allow us to have dozens of specialist commenters, eachwith a specific area of interest, and the only cost would be a few minutes
to give each one commenting permissions. We have already added threesuch commenters: specialists in Welsh, Hungarian, and Japanese names
have been added. Two of these people had specifically been uninterested incommenting when rules required the entirety of all letters to be addressed.
Additionally, OSCAR minimizes duplication of effort. As an example:
it can be a lot of work for everyone to independantly check for conflicts
on each item. If I’m commenting and Aryanhwy has found a conflict, allI need to do is validate that her thinking and count is correct, I do notneed to spend several minutes doing a conflict check myself. Conversely,
if someone supplies documentation from a standard reference, I don’t
need to spend my time typing the same information in. There are somedownsides to this, which will be covered later in this article.
The immediate appearance of commentary allows more dialog on any
given submission. Previously, there could only be three exchanges, andthen only if the month’s letters were staggered in just the right way. Now,
longer discussions are possible, though they do not appear to be commonplace.

Downsides of OSCAR
One of the major issues with OSCAR is that it’s not done yet. As of thiswriting, only the commentary parts of the system have been written. Decisions and much of the post-processing hasn’t even been started. Hopefully,
this will change over the coming year. One feature that has been requested
several times is the ability to comment on an entire letter or on all letterswhich were submitted in the course of a month. This ability was trivial
before OSCAR and has many uses.
Another issue is that OSCAR gives a one-size-fits-all interface. OSCAR
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The Odd Couple, Part I: OSCAR
was designed matching the author’s preferences and letter style, with afew changes. This is not necessarily the best way for everyone to work,
but it is the only one currently implemented.
One feature of the paper system that OSCAR partially lacks is the firstmonth worth of commentary in a vacuum. Items are therefore conflict
checked independently by each commenter. This ensures that errors by
one commenter are caught by another. Recently, there have been a few
more people doing ab initio conflict checking, so this is just a matter ofacquiring the habit of commenting either ignoring or without first reading
previous commentary.
An issue that seems to be arising due to the immediate visibility of commentary is that one person can drive all commentary. The first person who
enters a comment frequently pre-empts other conversation. Heralds lessconfident in their abilities can be unwilling to contradict a knowledgablesenior herald speaking authoritatively.
One major concern that this last issue leads to is that the Letter ofAcceptance and Return has historically listed all reasons for a return. If
we cite a problem and the submitter fixes it, the College has historicallyconsidered itself honor bound to register the submission, even if other newissues are discovered that were in force at the time of the original return.
If a single conflict is found, but the check is not finished, the CoA is failingthe Sovereigns by not citing all the issues.

OSCAR Future Directions
At present, much of the work on OSCAR is hidden to most CoA members.
The driving imperative is to automate much of the RTF/XML processing
work and tracking that was discussed at the beginning of this article, whichmeans that only Laurel staff can see the changes.
Once the ‘clerk’ functionality is done, the next step is automating decisions and the post-decision proofreading process: yet more functionalitythat will be invisible to most users.
Other ideas are to implement Kingdom processing functionality in OSCAR, so that kingdoms can take advantage of a fully integrated system.
Alternately, some minor modifications could be made so that individual
kingdoms could create their own OSCAR installations to use for their internal process.
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The Odd Couple, Part I: OSCAR
One major issue that may be tackled at some point down the line isa preference-driven interface. This would allow the end user to specify
much of the layout of a Letter of Intent.
Other possible functionality that may be added: automatic email notifications to submitters when their submission has been processed. Allowing
individual users to maintain a list of what they have not commented on.
Giving a page of commentary since the user’s last login. Active, client-sidecode (“JavaScript”) that would enhance a user’s experience. Integration
with the generation of precedents and the O&A. Allowing scanned documentation to be uploaded as part of a Letter of Intent (currently, it can only
be entered as commentary).
A long-term goal would be to re-write OSCAR. The amazing thing
about this code is not that it waltzes well, but that it waltzes at all. The
author of OSCAR was learning PHP when OSCAR was started, and still
doesn’t really know how to interact properly with databases. A fresh lookby an experienced design team could significantly improve the performance of the existing code.
These are only the current plans. If anyone has any suggestions forfurther improvements or features, feel free to pass your suggestion toLaurel for consideration.
Ultimately, OSCAR, as it exists today, is merely a stepping stone to afuture submissions process that is sleeker, easier and more fun to use, andserves the College, our Kingdoms and the Society as it evolves.

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The Odd Couple, Part II: FELIXHow OSCAR and FELIX have been and are going
to be changing the College of Arms
David Weiner (Robin Gallowglass)This article is a first attempt to describe for the College of Arms thethought processes, reasoning, and future directions of the online article
management system known as FELIX.
FELIX (Flexible Education Library Information eXchange) is a partiallyautomated system to manage and mirror educational articles from a primary source location to the Laurel website. FELIX was conceived as ameans to address previous shortcomings that caused a number of authors
to request the removal of their articles from the Laurel website.
The following shortcomings were identified and will be examined below:• Labor-intensive manual process to add articles.
• Changes to the original layout of an article.
• Article Freshness.
Labor-intensive manual process to add articles Each article was added
to the Laurel website by hand. This could be a very time consuming
process, especially for longer articles, as the site navigation and styleelements had to be added to every page.
Changes to the original layout of an article Often during the process described above, the layout of the original article was changed in a
fashion that was undesirable to the author. This was one of themore common complaints made about articles hosted on the Laurel
website.
Article Freshness It was often a lengthy and frustrating process for an
author to get his article updated on the Laurel website, often due tothe time consuming-process of adding additional articles.
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The Odd Couple, Part II: FELIX
Herrin Gisela vom Kreuzbach, the Laurel Education Deputy at thistime, had a strong desire to solve these problems and convince authors ofoften-used articles to return their articles to the Laurel website. This could
significantly reduce the number of pages that would have to be included
with a name submission, per Appendix H of the Admin Handbook. Gisela
discussed the issues with Lord Tanczos Istvan and me, and FELIX wasborn.
From the group discussion, the following design goals emerged:• Ease of use for both the administrator and the website visitor.
• As much automation as possible, to eliminate adding articles byhand.
• A proactive approach to maintaining article freshness.
• Allowing the authors to easily update their own articles.
• Preservation of as much of the original formatting of the articles as
possible.
The decision was made to use a database to store the articles, as thiswould enable us to easily meet all of our design goals in a timely fashion.
Ease of use for the article administrator goes hand in hand with automating as much as possible. By creating a password protected administration area of the website, article administrators can log in, select anauthor, enter the URL and title of the article and click a button on the form.
Once the form is submitted, the server attempts to retrieve the article fromthe URL that was entered. If the server was able to retrieve the article, thebody of the article is stored in the database, along with the original URL,
the date and time that it was added, the date and time the article was lastmodified according to the remote server, the article title, the author, andwhere it will show up on the website. Once that is done, the article bodywill be scanned for links to subsidiary, or child, pages, which in turn will
be scanned for links as well. If any possible subsidiary links are found,a list is presented to the administrator to select which of the subsidiary
pages should also be imported.
Ease of use for the website visitor will be addressed by the creation of atemplate that will be used to “wrap” each article. If the server believes anarticle may be out of date, at the top of the article there will be a notice ofProceedings of the Caidan Known World Heraldic and Scribal Symposium

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The Odd Couple, Part II: FELIX
this along with a request that the visitor notify Codex Herald. While thefreshness of each article will be automatically checked on a daily basis by
the server, programs can fail, so it was decided that it was better to notify
as many people of possible if there was any question about an article’s
freshness. At the bottom of the article, the date and time of when thearticle was first added to the database will be shown, as well as the date
and time that it was last updated, the source URL and the date and time
the article located at the source URL was last modified.
Automation was briefly discussed earlier, but it doesn’t stop there, andworks hand in hand in with being proactive about maintaining article
freshness. Once a day, the server will check the freshness of each andevery article in the database and email a list of out of date articles to theLaurel Education Deputy and Codex Herald, currently Gisela and me. We
will be able to log in to the administrative section of the website, verify
that an article is truly out of date (and not, say, defaced by hackers) andupdate the copy of the article on the Laurel website, all with a few clicks ofthe mouse. At no time will any article be automatically updated without
first being verified by a live person, because web site defacement is a very
real possibility in this day and age.
Each author will also be able to log in to the administration sectionof the website, but will not be able to import any new articles and may
only update their own articles or remove them from the website. This isby no means required. If an author does not wish to take advantage ofthis feature, they may simply send a request to Codex Herald. However,this does give the author full control over their articles, and a safety net if
Codex Herald is unresponsive.
As part of the ease of use and automation design goals, it was determined that we did not want an article administrator editing any HTML,which dovetailed nicely with the goal of preserving as much of the original formatting as possible. The only changes that will be made will be
the addition of the article footer, the page background and applying theLaurel website style sheet to the text and any links. No other changes will
be made.
At the time this article was written, FELIX is about ready to leave the
ALPHA testing stage and enter BETA testing. We have contacted a few
authors and described FELIX in depth to them, and they have agreed toallow their articles to return to the website once FELIX is in production,and have graciously given us a list of article URLs to use for our testing.
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The Odd Couple, Part II: FELIX
If you are an author and would like for your articles to be featured
on the Laurel website, or if you have questions about articles, you may
contact Herrin Gisela vom Kreuzbach at mailto:education@heraldry.
sca.org. If you would like further technical information or have any
technical questions, you may contact me at mailto:codex@heraldry.sca.
org.

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Materials on the Proceedings Disk
Mark Wroth (Eiriı́kr Sigurdharson)
One of the advantages of providing the Proceedings on compact disk isthat we can provide other materials that may be of interest to participants
without charge. In this case we have been able to provide:proceedings.pdf The Proceedings of the Caidan Heraldic and Scribal Symposium, Anno Societatis XLII themselves (which you are presumably
now reading).
SympRoll.pdf The Symposium Roll of Arms: an Occaisional Roll of theKnown World Heraldic and Scribal Symposium held in the Barony of
Lyondemere, Kingdom of Caid on July 8–9, 1989, being XXIV Anno
Societatis; an occaisional roll from the last Caidan KWHSS, provided
for historical interest, courtesy of Mistress Eowyn Amberdrake.
OandA (directory) materials related to the Armorial of the Society. The
materials included are:oanda.txt The compiled Armorial of the Society as of 2006-11-06 (themost recent published version). This file (and more recent versions as they are published) may be downloaded from the web
in various locations, but are large enough that it is convenient
to provide it on the CD.
filter-readme.txt A brief description of the filter program, withpointers to where more information can be obtained.
filter.exe An MS Windows executable of the filter program, which
is a search program somewhat optimized for use in searching
the Armorial. This is a command line executable, similar inconcept to grep.
SearchOandA.tcl A TCL/Tk script that provides a semi-graphicalfront end to filter.
FILTER.PDF Literate programming documentation of the filter
program.

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Materials on the Proceedings Disk
SptFiles (directory) Files related to the production of the Proceedings
themselves.
KWHSS.cls The LATEX document class definition used for the Proceedings. This file may be used as a basis for future Symposia
proceedings formatting if desired. Due to the press of time,the documentation of this file leaves something to be desired; amore current version of the documented file may be available
from http://www.goldphoenix.net.
To the best of my knowledge and belief, all of the files on this disk
may be reproduced for non-profit use within the Society, with the
exception of the Proceedings themselves, which are subject to therestrictions described on its copyright page.

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159Materials on the Proceedings Disk

Colophon
The file format the proceedings are provided in is Adobe’s Portable Document Format (PDF); readers for various operating systems are available
from http://www.adobe.com.
These proceedings are typeset using PDFTEX, and are set in Palatinoand related fonts. PDFTEX is a variant of Donald Knuth’s TEX typesetting
program adapted to produce PDF output files.
TEX itself provides low level formatting capabilities; for practical application additional macro definitions are used to provide more intuitive
user markup. The markup package for these proceedings is based on the“report” document class from Leslie Lamport’s LATEX document preparation system, with additional packages from various sources, combined in
the “KWHSS” document class. A copy of this class is provided on theproceedings CD; a more completely documented form may be available
on http://www.goldphoenix.net.

References
1. Gossens, Michel, Frank Mittlebach, and Alexander Samarin. The
LATEX Companion. Reading, MA: Addison-Wesley, 1993.
2. Lamport, Leslie. LATEX: A Document Preparation System User’s
Guide and Reference Manual. Reading, MA: Addison-Wesley, 1994.
2nd ed..

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