Posted by: Alysten on: January 27, 2012
This was a super secret project for Mistress Alys Mackyntoich. She was elevated in 1999, so it wasn’t a secret that she was going to be a peer. We had talked about doing a new cloak as regalia off and on for a while. But something always took priority. So Engracia and I hatched a plan. I would to the pelican and the cloak, she would do Alys’ other badges and we would find a metal worker to create the clasps. The clasps were created by Lady Xandra Rozina Xiberras Galea and are matched Tygers of the East.
Stitches: Long and short, split, chain.
Materials: Gold torsade #3, gilt pearl purl, silk pearl floss, linen ground.
Inspiration: Pelican panel #3, Aberdeen Beastiary ~13th century.
http://www.abdn.ac.uk/bestiary/comment/35rbirdf.hti
The cloak is styled after a short cope and is made out of 19th century cotton velvet. I had some legacy fabric on hand and its been waiting for a project such as this. It is pieced in 6 pieces as the fabric I had was very long, but only 20 inches wide. The panels are attempting to mimic the diamond pattern from the beastiary. They were held to the fabric via lightweight fusible web and then appliqued down. Gold and silver gilt is being applied around the applique. It will be lined in linen.

There will be more posted about the cloak as it continues to be built.
Posted by: Alysten on: January 26, 2012
ConfectionsThe finishing touches on the confectionery sugar paste paper have been added and soon it will be sent over to the judges. This is one of 3 entries that need to be completed by 2-11-12. Though the research paper is due Saturday.
Documentation here: Confections
Posted by: Alysten on: January 4, 2012
I have a number of projects underway. Unfortunately they are no where near where I can post them. Though I will probably be doing a diary for HRM Gregor’s armor in the next few weeks. Also I have an embroidery project that I have been working for a number of months. I will post all of the project pictures and progress entries very soon (its a sooper seekrit project and I can’t reveal it yet).
So bare with me on the sugar projects for just a week or so more. More costuming type things are in the pipeline. I promise.
~Alesone
Posted by: Alysten on: January 4, 2012
I’ve decided on doing the” how sugar art evolved from medicine” topic. If I’m really good, I can throw in the formulas as part of the conclusion. I am going to use this space to help me organize my writing.
——————————————————
From humble beginnings as medicine to the grandiose sculptures of molded sugar, confections have a long held an important role in our society. However confectionery and pastry arts as we know them today are relatively new inventions.
In the late 19th century, Augustus Escofier formalized the modern definitions for pastry staff. Workers were no longer segregated by specialized skill set, but combined into teams, unified under a single head chef. It is from him, we get the terms pâtissier (pastry chef- head of the pastry/desert team), boulanger (baker) , confiseur (confections) and décorateur (show pieces).1 These terms are still in use in kitchens and bakeries all across Europe. And while each discipline is an art with a specific set of skills, there is much more cross-pollenization among workers.
Of Escofier’s classifications, the confiseur and the décorateur are probably the most visually well known. The confiseur works the chocolate and poured sugar sculptures. The décorateur makes specialty cakes. Television programs like “Ace of Cakes”, “Food Network: Extreme Challenges” and “Cake Boss”, have exposed many of the confectionery tricks of the trade. A wide range of the population now knows what goes on under the pretty covers of modern pastry. Words such as gum paste, fondant and support structures have become part of our everyday vocabulary.
(I need a transition here. I will write one eventually.).
Confection 2
1. any sweet preparation of fruit, nuts, etc, such as a preserve or a sweet
2. the act or process of compounding or mixing
3. anything regarded as over elaborate or frivolous
Confectioner 3
1. a person who makes or sells sweets or confections.
2. synonymous with the term, pastry chef.
In looking at modern definitions, we see little acknowledgment of the role of confections and confectioners have played in our society. It is easy to see why people to equate confections with desert. But this was not always the case.
(Moving on to medieval definitions.)
Root-[Latin: confectiō a preparing; conficere to produce]
End notes:
1. Gisslen, Wayne. Professional Cooking. Hoboken, NJ: John Wiley & Sons, 2011. Print.
2. “confection.” Collins English Dictionary – Complete & Unabridged 10th Edition. HarperCollins Publishers.
3. “confectioner.” Collins English Dictionary – Complete & Unabridged 10th Edition. HarperCollins Publishers.
Posted by: Alysten on: January 3, 2012
I think I have a good handle on the research paper outline. The topic I think I am going with is “How sugar art evolved out of medicine”.
What is a Confectioner
Modern term
Why is this important
Period term
Cooks vs confectioner
The apothecary connection
Basic history
Sumptuary Laws
Guild system
Specialized ingredients
Sugar
Flow of sugar
Growth of refining
Italy to England
Tragacanth gum
Properties
Grades
Availability
Tragacanth vs Arabic
Sugar paste
Medicinal
Sweets
Sculptural
Armatures
Functional
Bibliography
Recipes
Period
Modern
Posted by: Alysten on: December 14, 2011
It started as an innocent question. How available gum tragacanth was to the average medieval cook? All the recipes call for it, but how easily could someone like Robert May, a cook, get his hands on this chemical. This would help answer what the difference in subtleties between a cook, a confectioner and choices of materials.
So I poked around a bit.
It appears the confectioners were generally the folks who had access to this chemical. And the confectioners were usually attached to apothecaries (who controlled the sugar and the chemicals). It was not uncommon for the sugar artist to be a sculptor or come from the local apothecary. For example, in 1574 a banquet was held to woo Henry III of France as he passed through Venice on the way to his coronation in France. The sculptures were based on designs by sculptor Jacopo Sansovino and executed by local apothecary Niccolo della Cavalliera. In late fifteenth century England, the official title of the King’s apothecary was “Serjeant Confectioner”.
Which of course lead to the all important question, why were sugar artist coming out of the apothecaries. A little digging later… and things make a lot more sense.
The key is the term, confectioner: a person who confects. Confect: to make up, compound, or prepare from ingredients or materials. Sugar was originally used in medicinal compounds. The age old adage of a spoonful of sugar makes the medicine go down.
Robert de Montpellier, spicer-apothecary to Henry III, supplied powders for hypocras, electuaries, spices, medicines and confection to the court in the mid 1200s. In the 1300′s we get the disputes in Italy between the grocers and the apothecaries over who could confect medicine (and subsequently sweets as medicine and decorative food stuff). In 1432 Duke Albrech II decreed in Vienna ” merchants shall not bring any confections from Venice, neither shall they nor the shopkeepers sell them; but the apothecaries who reside here shall make such confections and trade in them.”
This is right around the time period where confection started taking the dual role of medicine and the emerging craft of sweet making. It is also when the guild status of apothecaries become solidified.
It is also right around the same time period where Europe begins to refine its own sugar. Italy was one of the first countries to refine white sugar for general consumption. Thus starting to break the Middle East’s hold on sugar importing. It is also one of the reasons Italy is where we find many of the first sugar paste recipes. The flow of recipes and raw material starts there and then migrates west.
So confectioner is not a new concept. The application of the art of confections simply, changed.
Posted by: Alysten on: December 14, 2011
I think I have finally decided what to do about my A&S entry for this year. We have to enter 3 different categories to show that we are well rounded artisans.
I am going to do one project, in three categories. I have amassed quite a bit of information about the origins of sugar paste and cutting it down into 3 digestible pages of “documentation” would be problematic. I was already docked on this last year by going over a page or 2 from this limit.I will be entering research paper, heraldry and I’ve asked to be judged under confectionery (it doesn’t exist, but it probably should, or apothecary). It will probably get moved to cooking, but I can ask.
The main goal is to produce something that resembles an English Galleon. Not necessarily the Golden Hinde, but it is one of the more famous ones that the public would have had access to. The ship will be 1/2 half of the Robert May “account” of a 12th Night subtlety. I will be using SCA heraldry. My patron is the Sabine de Kerbriant, Baroness of Bhakail. Her naval Captain is Griffith Davion of the Argent Tyger, who has a letter of mark from Kronrad I. This gives me the armory,colors and placement of the heraldry.
I will put the recipes, glossary and bibliography in as Appendices. Judges can look at them if they want to, but they do not have to. Since I am not “cooking”, the recipes and ingredients are not as critical to the overall project.
I can pull all of the history of sugar paste,connections to apothecaries and why cooks didn’t work in sugar paste, into a separate document. I can focus on heraldry specifically in it’s own document. And I can tackle the actual build on it’s own.
Well that is the plan as it stands today.
Posted by: Alysten on: December 9, 2011
It was a spectacularly bad week for poured sugar. The chess board that I poured, allowed to dry and packaged up, went very south. When I noticed some of the lollipops had gone form clear to cloudy I went to check on the chess board.
This is what I was greeted with.

The entire piece crystallized. You can see parts of the colored sugar and lines because of the flash. Due to this, I elected not to pour a top coat for the Salamander piece. I entered this into the A&S competition anyway. I wanted people to see what can happen to sugar when it is left to the elements. The chess pieces that went with the board poured nicely. But they were also sealed with varnish after they were dry.
The piece ended up being a great conversation starter. And I think people learned something.
Posted by: Alysten on: December 6, 2011
Posted by: Alysten on: December 1, 2011
Every once in a while I get to work on something neat for someone else. I am part of a team working on a Swabian dress for HRM Kiena of the East. My job is to assemble the pieces into a finished garment and create the undergarments and hat. All of the sleeve beading and applique was done by the talented Barry the White. Ismay and I worked on the bodice beading/gilt application.
The bodice for the swabian gown has been appliqued,beaded, pieced and stitched. All that remains is to attach the pleated skirt and hook/eyes. And to trim all the little thready bits.