Sunday, July 8, 2012

Another A&S 50 Challenge: Emblazon the Calontir Royal Lineage

Aritê's Depth 50- Draw 50 Calontir royal arms for use as flash cards and whatever else they may be used for (the Calontir Big Book of Emblazons, for example).
50+/50 completed  
 

Calontir's current Gold Falcon sent out a request for someone to make flash cards of the arms of the Royal Lineage of Calontir. I had recently, for two seconds, thought about illuminating a roll of arms (like the period tournament rolls of arms) before sensibility took over and said "Too much work right now." Drawing things in Illustrator, though, takes much less time and has the additional benefit of building up my library of charges for use with future clients. In short, this request was perfect.

As of the beginning of this challenge, there have been 82 royals of Calontir who either had registered arms or were using them. That's at least 50, so why not make it another challenge? It's not quite enough for two, so I'll just complete the challenge on the way to completing the flash cards.

Making this in Illustrator may seem redundant since one can already access images in the Royal Armorial. However, most of them are pretty low-res and not good for blowing up to the size Gold Falcon wants. Illustrator files are vector art, so it's a non-issue there.

Here they are in no particular order. I'd have them in some sort of order (by reign or by name), except that blogger has decided to place them randomly. If the colors look off from what you would expect, it's because I made CMYK files since they're destined for printing. I also included notes where needed.

Chepe l'Orageux
5th Champion/4th Warlord and 1st King
Per saltire gules and sable, two lightning flashes
throughout in saltire, barbed and flighted Or

* The emblazon in the armorial does not have the bolts throughout, but I have a hard time believing he didn't intend them to be, so I've drawn them that way here.
**These are modern lightning bolts. You may see more rectangular lightning bolts on newer devices, but if I remember correctly, these are Victorian. I don't think lightning bolts are registrable anymore (correct me if I'm wrong), so I've just left them as is here.

Conna ingen uί Chearbhaill
57th Queen
Quarterly azure and vert, a cross fusilly
between four roundels argent
Eleanor d'Autun
22nd Queen
Vert, a fret couped within an annulet argent
Thoman Shadan Secarius
2nd and 11th King
Or, a gurges gules, overall a dagger inverted sable,
and for augmentation, on a canton purpure
a Cross of Calatrava within a bordure Or

*I added the augmentation to the blazon. Looks like it was never resubmitted to add it, though it's being
displayed this way.
Cuthbert Aldhelm
27th King
Lozengy couped in fess gules and argent,
on a pale Or a sword inverted azure
Luther Ambossfaust
30th King
Checky azure and argent,
on a saltire Or an anvil sable
Roderick of Mandrake Hill
15th King
Sable, on a chevron wavy between
three spearheads Or, three acorns sable
Jane Corwin
48th Queen
Azure, a triskelion of legs Or between three bezants
Isabeau Beaux Yeux
49th and 55th Queen
Per chevron azure and vert, a chevron
cotised between a pair of eyes
argent irised azure and a bell argent
Anton Raghelan
49th and 55th King
Per chevron azure and vert, a chevron
cotised between a pair of eyes argent
irised azure and a snake nowed argent
Ariel of Glastonbury Tor
37th, 44th, and 51st Queen
Azure, a domestic cat
sejant within an orle Or
Bataciqan-nu Ko'un Ashir
54th King
Azure, a Mongolian phoenix to dexter, wings elevated
and addorsed, sable rising from flames gules

*This device is in use but not registered. It would not be registrable due to low contrast unless evidence were supplied as described in the "Individually Attested Pattern" part of SENA.
Comyn Hrothwyn of Goldum Aecum
35th Queen
Sable, on a pale bretessed between
four oak leaves, the lower two inverted
Or, a dagger inverted dable hilted vert
Morgana of Raglan
17th Queen
Per bend sinister vert and Or,
two melusines counterchanged
Magdalena vander Meere
52nd Queen, current Princess
Argent, a mermaid in her vanity
contourny and on a chief
gules three escallops argent
Cadfael the Mordant
16th Queen
Per chevron argent and azure,
two clusters of three grape leaves
vert and a descrescent argent pierced
by a crossbow bolt fesswise reversed Or
Erzebet von Schachendorf
2nd Queen
Per bend Or and sable, a rose azure barbed and seeded proper and an anchor argent
Garick von Köpke
42nd King
Per chevron argent and Or,
three flames proper each
charged with a tower sable
Martino Michele Venèri
37th, 44th, and 51st King
Per chevron gules and sable,
a chevron ermine between two
towers and a wolf's head
erased argent, a bordure ermine
Valens of Flatrock
8th, 23rd, 29th, 35th, and 39th King
Vert, a bend azure, fimbriated Or
between a tower argent and a castle Or,
and for augmentation, on a canton purpure
a Cross of Calatrava within a bordure Or
Fionna nic Alisdair
13th Queen
Or semy of hearts, a snail contourny gules
Brummbarr von Schwarzberg
1st, 2nd, and 4th Champion, 1st and 3rd Warlord, 3rd Prince
Per bend azure and sable, a bend embattled
between two bears rampant argent, and for augmentation,
on a canton purpure a Cross of Calatrava within a bordure Or
Joe Angus Wilson of Clan Gunn
32nd King
Per chevron lozengy sable and argent and sable,
a chess knight argent
Mammarra Liona of Egypt
2nd Consort, 2nd and 5th Princess, 3rd and 7th Queen
Azure, an Egyptian gynosphinx rampant Or
Steffen Albert Rheinbauer
18th King
Azure, a sinister gauntlet clenched
aversant bendwise sustaining a rose slipped
and leaved bendwise sinister argent,
in chief a mural coronet, all within an orle of chain Or
Kaye of Gordon
53rd and 56th Queen
Per pale azure and vert,
a turtle rampant gorged with a county
coronet and in chief two ivy leaves Or

*The registered device does not include the coronet, which is currently in submission.
Lyriel de la Foret
34th Queen
Per pale vert and Or,
a fleur de lys counterchanged

*Device used but not registered
Ostwald Konrad Riese Toten
53rd and 56th King
Vert, a bear rampant argent gorged with a
county coronet Or between two flaunches argent,
each charged with a halber blades to center

*The registered device does not include the coronet, which is currently in submission. His name has also been resubmitted, with a changed from Tod to Toten.
Llywelyn Lorell of Shrewsbury
10th, 20th, and 47th King
Per chevron vert and argent,
two towers argent and a portcullis
within a bordure sable
Alix Coeurbois
11th Queen
Per chevron azure and argent, two crosses
crosslet and a stump snagged proper
Vaclav Semjaka
45th King
Azure, a bear rampant and on a gore
argent a mullet of three points gules
Thorvald the Golden
9th King
Argent, a sword argent flamed and hilted
within a bordure rayonny azure
Miriam bat Yehuda
5th Queen
Azure semy of roses, a lion rampant
contourny argent and in chief a coronet Or
Margarette de Saint Martin-sur-Mer
38th Queen
Per chevron argent and vert,
a lion passant guardant sable and
three crosses bottony two and one argent
Hywela Frech ferch Wyddel
6th and 14th Queen
Per bend sinister vert and vair,
in bend two griffins segreant Or
Elisabeth de Rossignol
5th Princess and 4th Queen
Gules, a pall erminois between three
pomegranates slipped and leaved Or
Gilligan of Eire
24th King
Argent, three lions passant contourney
within a bordure embattled vert
Isadora of Orange Wode
12th Queen
Ermine, chaussé ployé sable
an orange tree eradicated proper
Rorik Galbraith
17th King
Sable, a bear's head erased argent
muzzled gules between two swords
in pile argent within a bordure
argent semy of lozenges sable
Adelith of Horton-cum-Studley
24th Queen
Per pale sable and argent, two swans naiant
respectant, wings elevated counterchanged
Sally Salamandra the Whitesmith
25th Queen
Purpure, a salamander tergiant vert flamed Or
Branwen ferch Rhael
27th Queen
Argent, on a fess purpure between
three dragons' heads erased
azure, three cinquefoils argent
Ternon de Caerleon
3rd Champion/2nd Warlord and 1st Prince
Gyronny of six palewise vert and erminois,
in pall three dexter arms, flexed and
conjoined at the shoulders, each
hand grasping a dagger argent
Valmai Arcalien of Dernhealde
3rd Princess
Per fess argent and azure, in pale an oak
leaf bendwise and a goblet counterchanged
Conn MacNeill
16th and 21st King
Gules, on a pile raguly between two
cups Or, a sword inverted sable
Sheelagh O'Kyan
21st and 41st Queen
Per bend sinister argent and vert,
an oak leaf palewise and a bottlenosed
dolphin naiant counterchanged
Volkmar Katzbalger
12th King
Per pale sable and gules, two halberd heads
addorsed and in chief a lucy Or, for augmentation
on a chief purpure issuant from the line of
division a demi-cross of Calatrava throughout Or
Yrsa in kyrra Guðbrandsdottir
33rd Queen
Argent, a duck naiant sable,
a bordure wavy gules platy
Gabriel ap Morgan ap Hywel
6th and 14th King
Per bend azure and vert, on a bend
engrailed argent between two mullets
of six points Or a fox's head gules
Yasamin al-Hadiyya
42nd Queen
Purpure, a senmurv within eight octofoils in annulo Or

*In use, currently in submission
Tristram of Lindesfarne
Ermine, a boar passant azure and a chief gules fretty Or
43rd and 46th King

*In use, not registered
Elspeth of Stonehaven
23rd Queen
Per bend sinister dovetailed sable and argent,
a unicorn's head couped contourny and a dog's head
couped within a bordure dovetailed all counterchanged
Chrystofer Kensor
19th, 25th, and 38th King
Azure, a wolf rampant contourny argent maintaining
in its sinister paw an axe bendwise hafted Or,
a base argent and in chief a ducal coronet Or,
for augmentation, on a canton purpure
a Cross of Calatrava within a bordure Or
Branwyn Whiteraven
9th Queen
Sable, a raven close and on a bordure argent, six roses, barbed and seeded, proper
Arwyn Antaradi
1st Consort and 1st Queen
Or, a saltire cotised gules, overall a horse rampant to sinister sable
Zenobia of Rebelswood
10th Queen
Argent, a unicorn rampant and on a chief
embattled gules, an arrow, barb to dexter, argent
Mahmood al-Taifi (Tomeeki)
13th King
Argent, an elephant rampant sable maintaining in its trunk a coronet gules
Angelo Paolo Cavelli
48th King
Per pale Or and vert, a vol and in chief an annulo counterchanged
Humpk d'Bohunk
6th Champion/5th Warlord, 2nd and 4th Prince, 3rd and 7th King
Azure, a sword inverted Or surmounted
by a skull argent between in fess a pair
of wings, all between three roses Or
Lucian Fidelis
57th King
Argent, a satyr maintaining a spear bendwise sinister inverted sable a bordure embattled gules

*in use, not registered
*Credit where it's due- this emblazon is based very heavily on a sketch by His Excellency, who's a good artist himself. :)
Aislinn Morcroft
28th and 36th Queen
Gules, on a chevron between three crosses
crosslet Or, five strawberry leaves vert
Edward Cire of Greymoor
5th Prince and 4th King
Per chevron gules and argent, two wyverns passant
respectant argent and a scoprion passant sable
Hirsch Ross Eichmann
52nd and 58th King
Or, an oak tree fructed proper and on
a chief gules three stag's attires Or
Alethea Charle
26th and 31st Queen
Lozengy argent and gules, a doe lodged and on a
chief sable two arrows inverted in saltire argent
Brayden Avenel Durrant
15th and 19th Queen
Gules, a fess invected between a natural tiger passant
and a scimitar fesswise, blade to chief, argent

*This sword looks more like a falchion or dao. They're often mistakenly called scimitars.
Katrine Thorrofsdottir
43rd Queen
Gules, a panther passant guardant queue-forchy
argent incensed proper, gorged of a collar and broken chains
Or and on a chief argent three crescents gules

*This device is in use but not registered
Thjothrekr Eiriksson
33rd King
Argent, on a bend wavy gules
between three Thor's hammers sable
a shark naiant argent
Fernando Rodrigues de Falcon
34th King
Per bend sinister sable and Or, a falcon stooping
to sinister counterchanged, and for
augmentation, on a canton purpure a Cross of Calatrava within a bordure Or
Siridean Maclachlan
41st King
Azure, a bend argent cotised
between a lion rampant
and a triple towered castle Or

*I decided to base my drawing of a lion rampant on a depiction from a period illumination. It isn't an exact copy- it didn't quite make the transition from illumination to Illustrator image without looking completely doofy. I made the mane and toes a bit more realistic. And I also gave it lion ears. The original has human ears. *snicker*
Xorazne Artsruni
45th Queen
Per saltire argent and Or, a sun in splendor within an orle gules

*In use but not registered.
Eringlin Aldhelm
22nd, 26th, and 31st King
Per pale sable and Or, a chevron between three
roundels, and for augmentation on the chevron
a Cross of Calatrava counterchanged

*The device is registered, but the augmentation is a new addition
Iliya of Shadowdale
20th Queen
[Tinctureless] A Ukranian trident and a drawn horse bow conjoined in pale [sable]

*Device in use but not registered
*This design is based on bi/tridents such as those used by the Kiev dynasty and is appropriate for an early period Russian persona such as Her Excellency's. The blazon is a guess on my part. The bottom element might also be blazoned as a heart or a quarter of a Cross of Calatrava. The words in brackets would be necessary for registration in the SCA, but nonsensical in period. In addition to stamping the completely tinctureless design on coins, she also displayed it as Or on purpure during her reign. I've chosen to reproduce it as black and white here to hold true to period design (black and white doesn't necessarily read as "tinctured"), but will change it to Or on purpure if She requests.
*Ukranian/Kievan bi/tridents might be descended from tamga (Drachuk, 1975; Yatsenko, 2001; Fetisov, 2007; Lebedynsky, 2011), though the latter two caution that it isn't necessarily the sign itself that descends from them, but rather the system of use and inheritance.
Ghleanna Meghan of Kirkaldy
1st Princess
Per fess sable and vert, a fess between
three mullets of eight points and a
horse rampant argent.

*Device in use but not registered
Catalina Arazuri
Current Princess
Or, a bend sinister per bend azure and gules
between two monarch butterflies proper.

Lenore de Troyes
30th Queen
Vert, two chevronels argent between three trefoils voided Or

*Prepared, but not submitted before her passing
Christophre Cynwyd
7th Champion
Or, a date palm leaf sable
Lile ni Mhordha
18th Queen
Per chevron ermine and azure, in base
three annulets, one and two, interlaced Or
Maerwynn of Holme
50th and 54th Queen
Or, a triskelion of three unstrung hunting horns
conjoined at the mouthpieces between
three roundels one and two gules
Asgeirr Gunnarsson
5th King
Per pale sable and argent, on a saltire cotised,
two spears in saltire, all counterchanged.
Caillin MacKenzie
46th Queen
Azure semy of roses Or barbed and seeded
vert, on a bend sinister argent three trefoils vert

*In use, not registered
Donngal Eriksson
28th King
Azure ermined Or, a cross
throughout gyronny gules and Or
Phaedra filia Roberti
32nd and 40th Queen
Argent semy of ladybugs gules
spotted sable, a bordure gules

*The ladybugs I've drawn here are European
seven-spotted ladybugs, not to be mistaken
for the common invasive Asian
species found here in the US.
Susannah Griffon
8th, 29th, and 39th Queen
Pean, a saltire Or, overall a griffon passant gules,
and for augmentation, on a canton purpure
a Cross of Calatrava within a bordure Or


*I added the augmentation to the blazon. Looks like it was never resubmitted to add it, though it's being displayed this way.
**This is a Fox-Davies (i.e. post-period) griffon, which I did not know when I drew it a while back. I'll eventually replace my Fox-Davies art with more period depictions, though they are often still registrable given their accessibility.

Drachuk, VS, 1975, Sistemy znakov Severnogo Prichernomor'ya Tamgoobraznyie znaki severopontiyskoi periferii antichnogo mira pervykh vekov nashei ery, Kiev.
Fetisov, A, 2007, The 'Rurukid sign' from the B3 church at Basarabi-Murfatlar, Studia Patzinaka, 4.1, pp. 29-44
Lebedynsky, I, 2011, Les tamgas, une "héraldique" de la steppe, éditions errance, Paris, p. 109-122.
Yatsenko, SA, 2001, Znaki-tamgi iranoyazychnych narodov drevnosti i rannego srednevekov'ya, Moskva.

Monday, June 18, 2012

Notes From Lilies


Lilies was so much fun! I learned a lot about many different subjects, including how to do a handful of crafts, and met a bunch of fun and nice people in the process. I weaved a seamless bag which I need to felt now. My husband made a leather jack and did really well with the tooling. He is much better at basket-weaving than I. I also learned that Yoda speaks Latin in English. My husband (now going by the name he'll be submitting, Gamble) and I are going to buy a couple rapiers to practice Calontir Steel cut and thrust on our own. I really, really need to find a place where I can practice thrown weapons 'cause it is tons of fun. Especially spears. We also saw Their Royal Majesties and Highnesses from five kingdoms do the wave in court.
I drew two device submissions for heraldic consultants. One of the pre-prints I had painted previously was given to a new Boga-Fyrd. I was the only entrant in the borders competition, but was assured I didn't win by default. I drew up another zoomorphic border. I'm kicking myself for forgetting to take a picture before handing it off... I did two deer with their hind limbs flipped above their backs and long antlers filling up the extra space- one on the top left corner, the other on the bottom right with antlers extending vertically up/down the sides of the sheet (scroll is in landscape format), and horizontally to the center of the page. At the center, they turn vertically toward the center of the sheet for just an inch or so to hold onto a blank circle for an order badge at top and a blank escutcheon for personal arms at the bottom. Their Majesties' scribe suggested painting around the colors instead of over them since she's seen paint not stick to gold gesso before. I picked up an illumination how-to book which described a masking method that might make that easier to do. I'm excited to try it out next time.

I finished skimming through the giant French tamga book in time for my class at Lilies. I had one student who's currently exploring Mongol stuff and we had a lot of fun talking shop. It would probably be a copyright violation to post translations of the book online, but I will e-mail relevant passages to anyone who asks as well as discussing each chapter on here once I'm finished translating each one.
Ashina Turk on the left, modern Mongol on the right
On a related note, to the reader who asked for a raven tamga- There actually was a tamga in the book which means "crow/raven" (the French word used, corbeau, does not differentiate between the two). It seems that tamgas didn't have specific names or meanings (other than identifying the one who uses it) in the beginning, but later on some were given names. Modern tamgas in Mongolia are still used this way, including the raven tamga. This tamga first showed up in a source cited as "The Book of Tang". It was compiled from earlier sources in the tenth century and in it are illustrated the tamgas representing various nomadic tribes within the then-borders of China. A Turkic clan called the Ashina used a tamga basically identical to the modern Mongol raven tamga.


The dumpling class was an even bigger success. I had seven people show up and they all seemed to really enjoy themselves. I ended up giving out a couple copies of the recipe beyond the class as well. I almost entered them in the "Cooked On Site" competition, but given that I forgot to re-look up and write down the scant documentation I'd found beforehand, I decided to wait until next year.
If you have the opportunity to go next year, I highly recommend it. So much fun!

Thursday, June 7, 2012

Possible kurta pattern

At the request of a reader, here's a possible pattern for a kurta. I don't have time to test it before leaving for Lilies, so if anyone tries this, let me know any problems or ah-ha moments you have. It's based on the child's kurta in the Hermitage Museum I posted previously.

I would recommend not actually cutting the triangles out of the sleeves (just sew along where the seam should go) until you've tested whether you have full range of motion with your arms. It's entirely possible that it could have a more complex shape than a straight line.

This post will be updated after I make one.


Tuesday, June 5, 2012

Zoomorphic Art as Illumination Take Two


I entered this scroll in the "8 of anything" A&S contest at Melon Wars about a month ago. My take on the theme is that there are eight sets of eight things on the scroll. It's intended to be a game for the viewer to try and figure out what they are. I'll give people some time to guess then put the answers in the comments if any are missed.


   I've continued to work on Sarmatian zoomorphic art as an illumination style. One thing I didn't mention in my first post about zoomorphic art as illumination is that when Sarmatians put animals on objects, they made them fit the predetermined space. Proportions don't matter so much as removing as much white space as you possibly can. That means elongated or shortened bodies and limbs are commonplace. And if the animal is a deer- expect its antlers to be ridiculously long with oodles of tines and fill every inch of white space they possibly can.

  The animals in the border are all from or based on artifacts pictured in my trusty Golden Deer book. As before, I used jewel tones to color the internal linework and whitespace in reference to the jewels that would sometimes be placed in the eyes, nostrils, etc... All of them are animals which have been depicted in Iranian steppe nomad art- mostly Sarmatian.


   The images inside the animal border are depictions of steppe nomad life, with one exception. The picture of someone picking melons I included for the Melon Wars event. I doubt Sarmatians actually harvested melons. I'm not sure they would have even been found that far north. The image in the bottom right corner is itself an actual artifact. The deer in the bottom left image are based on Scythian artifacts.

   I was working under a very tight time limit and didn't actually finish painting until an hour before the competition ended, so I had to rush and skip step 8, hence the rough look of it. I might go back and fix that later, but I have other more imminent things to work on for Lilies.









   The calligraphic hand is Rustic Roman. Since Sarmatians didn't have a written language, I picked one that was contemporaneous with them. I think it works well with zoomorphic art. It was invented in the first century AD. Like other early Roman fonts, there are no lowercase letters. Early Roman hands didn't have spaces between words either, but that makes it a pain to read, so I included them. Brown ink might have worked better with my illumination, but I already had black and didn't need to spend more money than I already had on the Micron brush pens for the jewel tone linework (which work fantastically, by the way; definitely worth the investment if you do illumination styles that can use them).

The Golden Deer of Eurasia: Scythian and Sarmatian Treasures from the Russian Steppes, The Metropolitan Museum of Art, 2000.

Monday, June 4, 2012

Creating a Scroll

This isn't a post about how to design a scroll in a period style, or how to design a scroll for an award- you can find those here, here, and here- it's about how to go from a blank page to a finished piece. The start of a project can be very intimidating. What it should be, though, is invigorating. It's a chance to try something out. If you mess up, that's okay, because you tried and that's better than doing nothing. You can try to fix it or you can start over, up to you.

Here are the steps once you've come up with the concept and a layout:
1) Lightly pencil in blobs that will one day be the locations of your illuminations. Realize that these might change, so plan on fluidity- particularly if your scroll will have multiple modules interacting with one another. (This picture is from my test scroll, hence the different levels of progression in different parts. I forgot to take picture of this stage from the actual scroll.)
2) Are you doing calligraphy? Do your entire calligraphy sequence a couple of times on scrap paper to get an idea of how much space it's going to take up. This should all be done in one sitting because your hand can be slightly different depending on your mood, energy, etc...- especially if you haven't been doing it for years and years. Experiment with width, height, and spacing until you're happy with how it will fit in with the illumination. Pick a hand that works with your illumination style.
3) Pencil in guidelines for the calligraphy and possibly box in the space it needs to be contained in. Now do the calligraphy. This should be done in the same sitting as the practice runs. Always do calligraphy first because it doesn't take anywhere near as long to re-do as illumination does. This means that if something goes wrong which can't be rectified, you waste much less time starting over. Pick the right color for the calligraphy- black is the default, but some styles (like Italian White Vine) call for brown calligraphy.
 4) Now start sketching the actual shapes and details for your illumination. You might think about doing general shapes first, then details if your scroll is very modular (i.e., has multiple parts). Like doing calligraphy first, this is to waste less time re-doing stuff if you change your mind, mess up, or find your style changing as you work.

5) Got everything all penciled in to your liking? Here's where the process becomes less linear. I like to ink my lineart first. My husband suggested I should paint, then ink, but I like having more visible lines to paint between. So this step is optional- ink over your pencil lines then erase them. Doing all one line weight is very simple but also very boring. Do major delineations in a thicker weight (a .08 micron is good), then smaller and smaller details in smaller weights (.05, .03, .02, .01, and .005 microns are all options).
 6) Here's another step that's optional- do your leafwork, be it gold, silver, or something else. This is particularly important if you're using metal leaf because it will stick to gouache, and you don't want you painted portions covered up by gold leaf.I used gouache, so in this case I didn't need to do metalwork first, though I typically do anyways.
7) Once you have your shapes drawn (be they in pencil or pen), lay down the base colors of paint.
8) Now do shading, highlights, and whitework. It might seem like you don't need it at first, but if you try any of the above, you'll probably think your illumination looks much better for it.
9) Draw ink lines over where the pencil was/is (erase pencil if still there). Do this step even if you already did optional step #5 because unless you are an absolutely amazing painter, there will probably be bits and pieces of your lineart covered at least partially by paint. You don't necessarily have to re-ink the entire thing- just fix what needs to be fixed.
Ta-da! You just made an illuminated manuscript from start to finish. That wasn't so bad, was it? :)


About the piece


The Golden Deer of Eurasia: Scythian and Sarmatian Treasures from the Russian Steppes, The Metropolitan Museum of Art, 2000.