This illustration is a play on SCA geography shown as a medieval T-and-O map crossed with the classic New Yorker cover.
Manhattan is in the center of the world (rightly so), with the West at the top, Long Island in the bottom left, and New England in bottom right.
(Hat tip to Þorfinn for the original idea, Angelica for the New Yorker tie-in, Brían for a great first round of Latin corrections, and Maral for a Canadian vocabulary suggestion.)
Also available in a provincial version that highlights all four modern cantons.
A guide to the labels and placenames, written in Vulgar Latin:
- Nova Terra Vetus: The New Ancient World.
- Occidens, Meridies, Oriens, Septentrio: Cardinal directions, with West at the top (medieval maps frequently had East at the top).
- Mare Oceanum Procellarum: Ocean of Storms.
- Atlantia: The Kingdom of Atlantia occupies the southeast of the US.
- Caidis: The Kingdom of Caid lies in southern California
- Nebulae: San Francisco and the Bay Area are the Principality of the Mists.
- Scoutum Boreale: The Kingdom of Northshield covers central Canada and the upper Midwest.
- Dracones mediorum: A dragon is the badge of The Middle Kingdom.
- AEthelmearcus: The Kingdom of Æthelmearc is located due west of our kingdom.
- Salamandrae: A salamander is the badge of the Barony of Bhakail, located around Philadelphia.
- Incolae paludis: These “swamp dwellers” are inhabitants of the Barony of Settmour Swamp.
- Concordia: The Barony of Concordia of the Snows is located in the Capitol Region of New York, around Albany.
- Magnum Portum: New York’s “great harbor” connects the city to the ocean.
- Hudsonicum: The Hudson river leads north from the city, and thanks to the Champlain canal, connects to the ocean via the St. Lawrence seaway.
- Foramen: The Long Island Sound is the third “opening” connecting the city to the world’s oceans.
- Insula Pomorum: The “island of apples” is Manhattan, the Big Apple.
- Pontem fractum: The Canton of Brokenbridge is located in Brooklyn.
- Leonis finem: The Canton of Lions End fills Nassau County.
- Abyssi: The “people of the abyss” reside in the Barony An Dubhaigeainn, “of the dark ones” or perhaps “of the dark abyss,” a description of the waters of the Sound.
- Aquilonis silvis: The “northern forests” of Østgarðr.
- Draconavis: The Barony of Dragonship Haven lies across the Sound in southern Connecticut.
- Carolingea: The Barony of Carolingia is located in and around Boston.
- Tir Mara: The Crown Principality of Tir Mara is the Canadian portion of the East Kingdom, the “land of the sea.”
At the January 2021 online KWHSS, Vémundr Syvursson presented a class on using Inkscape to create armorial illustrations.
Like Pennsic 49, this round of updates to the Book of Traceable Art has been somewhat delayed and is a bit smaller than usual; it has been six months since the last time I posted one of these announcements, and in that time I’ve only added a bit over a hundred new images. (My father passed away earlier this year and it’s taking me a while to get back into gear.)
As always, I am excited to welcome our first-time contributors: Choi Min (nice qilins!), Aurora Faw, Fred Siler, and especially Volusia Zoe, who filled a gap in the collection by supplying a handful of pantheons in various postures, as well as a pair of fearsome rats.
And I am thankful for the continuing support of returning artists Di Amador, Sadhbh Bheag, Séamus Uí Chonchobhair, and Drystan ap Ercwlff; this project would be a lot poorer without your ongoing efforts.
I particularly want to call out three tireless illustrators — Jessimond of Emerickeskepe, Iago ab Adam, and Vémundr Syvursson — who have now each drawn a hundred or more images for this collection, a mark of true dedication; I am in their debt. Continue reading “Traceable Art for Pennsic 49”
Given the years of effort that have gone into building the Traceable Heraldic Art collection, it’s very gratifying to know that it’s actually being used by other people, and aside from anecdotal reports, the clearest feedback I get on this front is Google Analytics, which I enabled shortly after creating the site in December 2016.
Traffic has grown slowly over the last five and a half years, but over time persistence has paid off in increasing visibility. On a typical day in the last year the site was visited by between one hundred and two hundred people. Many of these folks are coming from search engine results, and about half of them take one look around and immediately leave after deciding that this site isn’t going to answer their questions about how to use a crancelin or give them the style of dolphin art they searched for. But others stay and browse through dozens of pages, so the number of page views is usually between one and two thousand per day.
Presumably that growth won’t continue forever, and it will be interesting to see where things level off.
As the new calendar year begins, it’s time for another update on the Traceable Art collection. Over the last two months, over a hundred and thirty illustrations have been added, bringing the total to just over five thousand images.
More than half of the new entries are ordinaries and field divisions from Gunnvôr silfrahárr‘s Viking Answer Lady SVG Images For Heralds. With this update, nearly all of the images from this collection are now included in the Traceable Art.
A few additional original illustrations have also been added in this round, from new contributor Hu Zhen and returning artists Iago ab Adam and Li Xia. Continue reading “Traceable Art at Year’s End”
Over the last two months, more than a hundred new entries have been added to the Book of Traceable Heraldic Art, putting it on track to pass five thousand charges and fields some time around the end of the calendar year.
I’m pleased to welcome first-time contributors Di Amador and Sneferu ex Artemisias, and extend my thanks to returning artists Saewynn aet Cnolle, Vémundr Syvursson, Iago ab Adam, Jessimond of Emerickeskepe, and Maryan Hoskyns.
If you’ve drawn heraldic line art that you’re willing to share with the community, or would like to find another way of getting involved, please drop me a line! Continue reading “Autumn Art Updates”
As part of my effort to facilitate the development of a successor to the current, somewhat jury-rigged system used to publish the Traceable Heraldic Art collection, I’ve been working on exporting the current data in a format that could be imported by someone developing a successor system.
You can now retrieve nearly all of the textual content of the collection via a series of JSON data files which are automatically rebuilt each time the site is updated. Continue reading “JSON Data for the Traceable Art”
During the last three months, over 225 new entries have been added to the Book of Traceable Heraldic Art, bringing the total to 4,800 images plus appendices.
Some of these illustrations were provided by first-time contributors Drystan ap Ercwlff, Elizabeth Riverwood, Groza Novgorodskaia, Kolosvari Arpadne Julia, Ragna stórráða Úlfsdóttir, and Sadhbh Bheag — thank you all, and welcome to the team.
Likewise, my continuing appreciation goes out to returning artists Saewynn aet Cnolle, Jessimond of Emerickeskepe, Iago ab Adam, Vémundr Syvursson, Forveleth Dunde, Owen Tegg, Thora Brandsdottir, Aine ingen Gilla Crist, and Estelle de la Mer. Continue reading “Traceable Art at Summer’s End”
Following the writeup of An Idiosyncratic System for Publishing the Traceable Heraldic Art, I put together a few notes laying out some of the kinds of data managed by the current system with an eye towards a possible design for the schema of a future database implementation: Continue reading “A Database Schema for the Traceable Art”
As we approach the fifth anniversary of my Traceable Heraldic Art project, and given how terribly overcommitted I am with numerous projects underway, I wanted to let folks know that if someone with a strong software-development background was interested in developing the next generation of the system that hosts that collection, I’d be open to collaboration and eventually turning it over to someone else to run.
This recent blog post lays out some of the background on how the current system works and what I hope might some day replace it, and links to the source code and data files I use to build and update the site. A successor system might be coded very differently, but I would hope that it would still support the current functionality and enable the development of new capabilities, so it seems likely to be of similar complexity.
This doesn’t mean I am about to abandon the project, but I have spent somewhere about four thousand hours on it already, and would like to free up some time to work on other things. If you’re a combination web-development nerd and armorial-art nerd, and you’re interested in spending years of your life improving and maintaining a much-valued community resource, drop me a line!