🌸 Sketching worlds, plotting chaos🌸

COMMISSIONS: OPEN | She/Her | 2D Artist | Comic Artist & Illustration Medieval enthusiast • Book lover • Aspirant author

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Held in Silk and Silence.

" ‘Here, husband, I offer you my Christmas gift. I trust it is worthy enough to win your favour.’    A book of the lives of the saints, rendered in English and French, bound in supple leather and worked with gilded embossing; its clasps are plated in gold and set with beryl stones, and the cover is of costly silk, adorned with delicate patterns embroidered by my own hand. A pair of perfumed riding gloves, lined with squirrel fur. He turns them over, revealing the monogram woven in gold thread — R.Y. ‘I remember this!’ he cries, delighted, unfolding the cloth that hides the ornament. ‘What a marvel.’ It is a large brooch, an emerald flanked by diamonds in a silver setting; shaped like a daisy, its enamelled petals are fashioned as little hearts, and along their edges a motto has been finely engraved: Non timebo mala. ‘Even though I walk through the valley of the shadow of death…’ he intones dutifully. ‘…I shall fear no evil, for Thou art with me,’ I finish. " — Proud Cis.

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Okay, so what if…? Henry Tudor x Elizabeth of York, c. 1473.

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APPARENTLY SOMEONE DECIDED I’M FANART MATERIAL (and it sucks) LOLOLOL

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I have missed those hands! / And I have missed that face.

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The Bedford Inventories is basically a medieval Amazon:

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OMG, A SAPPHIRE BROOCH COMMISSIONED BY THREE DUKES AND A BISHOP

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Don’t forget to tick this one as well

Hold the Duke of Alençon hostage until the order from Brittany arrives

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Anne Neville, Countess of Stafford | PROUD CIS (WIP).

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Hi, it seems you’ve watched plenty of historical films and TV series. Could you share some actors who’ve portrayed your favourite historical figures? (I absolutely loved the portrayal of Edward IV in Dan Jones’ Wars of the Roses documentary; in my opinion, that casting couldn’t be more perfect!)

Hello! :)

Thank you for the question. I’d be delighted to answer it.

I’ll start by saying that, like you, I absolutely loved Tom Durant-Pritchard, who plays Edward IV in Britain's Blood Crown. Not only did he portray the character with great charisma and elegance, but he also has the height that suits the role perfectly, something further emphasized by the costumes he wore. He reminded me of the way Edward IV himself used clothing to enhance his physical presence. At first, I was a little skeptical because of his hair, which I would have preferred to be slightly longer (but hey, we can’t have everything, can we?), but in the end it proved to be far too insignificant a detail to pay any attention to.

And because I’m very predictable, I can’t help but bring up Adina Eady, who played Elizabeth Woodville in the same production. Not only is she a stunning woman - and Romanian, no less, hehe (I’m surprised by how many Romanian actors took part in this project) - but she also delivered one of the most memorable portrayals of Elizabeth Woodville. I greatly enjoyed Rebecca Ferguson’s interpretation as well, and she too is a very beautiful woman, but I feel that Adina, above all, gave Elizabeth that elegance and refinement that one reads so much about and that makes you think, “I understand why the king felt he could do nothing but marry her.”

Another example would be The Borgias, where Jeremy Irons steps into the role of Pope Alexander VI. I admit that I know him far better through fiction than through historical study, but if I had to think of someone capable of capturing the essence of such a contradictory figure, it would be Irons. Of course, television productions benefit from portraying him as somewhat more likable than he was in reality (sometimes you forget just how corrupt he was, haha), but Irons’s performance captures both the charisma and authority of a man within a family setting. He reveals so many facets of the character that you end up sympathizing with him as a skilled politician, a protective father (capable of combining genuine affection with political calculation), a religious leader, and also the vulnerable man behind the papal crown. The same can be said of Holliday Grainger (Lucrezia Borgia) and François Arnaud (Cesare Borgia).

Mark Rylance (Thomas Cromwell) and Damian Lewis (Henry VIII) from Wolf Hall. I must admit that I watched the first season long before reading Hilary Mantel’s book series. And that turned out to be a good thing! Despite the available historical portraits, I read the books with the actors in mind, which somehow helped me become even more immersed in the characters. Both actors struck me as phenomenal in their own way.

Cate Blanchett occupies one of the highest places on my list for her portrayal of Elizabeth I. Not only was her performance as the Queen of England extraordinary, but the transformation was so complete that I could almost imagine having the queen herself standing before me. Her gestures, presence, the subtle shifts in expression, emotional control, and intellectual intensity made it seem as though she had stepped out of a portrait in a museum and offered us a glimpse of the woman she once was.

In a similar position - though with some differences - is Samantha Morton in the role of Catherine de' Medici.

Rufus Sewell (Tom Builder), Ian McShane (Waleran Bigod), and Tony Curran (King Stephen) particularly caught my attention in the miniseries The Pillars of the Earth. All three delivered very strong performances. Rufus, in my view, is the core that makes the series shine. Somehow, he gave the character a certain vulnerability that made him feel more human (after all, he had lost everything), because the character could very easily have been idealized: a decent man with a grand dream of building a cathedral. The trait I especially appreciated, both in the adaptation and in the novel, was Tom’s dignity and his relationship with Prior Philip.

Tony Curran, although he appears more sporadically, left a lasting impression on me. As for Ian McShane, despite the fact that I found his character utterly exasperating (the series made him somewhat more flexible than in the book), he was nevertheless an exceptional antagonist.

Cillian Murphy (Thomas Shelby), Paul Anderson (Arthur Shelby), and the late Helen McCrory (Polly Gray) from Peaky Blinders did an exceptional job in forming the trio that served as the backbone of the series.

Cillian Murphy had the rather difficult task of creating this charismatic, cold, intelligent leader who is constantly tormented by trauma and inner conflicts. What impressed me most was his economy of expression: Thomas can be many things, but he is not a talkative man, often conveying far more through a pause or a well-timed glance than through an entire monologue. Although Tommy Shelby could easily be viewed as just a cool gangster, Murphy gives him greater depth through tragedy.

The opposite of Tommy Shelby is Anderson’s character, who is accustomed to expressing his thoughts and feelings openly and vocally. He possesses a raw intensity that also makes him the most unpredictable character in the series. You never really know what is going on inside his head. I think it is an extremely difficult role to portray, considering that Anderson has to manage not only Arthur’s PTSD but also the various addictions with which the character struggles.

So we have a brain and a fist - but where is the soul? Ah yes, with Polly! The soul of the party, the soul of the family. Far from being a woman who is easily impressed, Helen's Polly served not only as Tommy’s moral counterweight, but also as a mother figure, confidante, and strategist. Of the three performances, hers strikes me as the most elegant.

Caitríona Balfe (Claire Fraser) in the series Outlander. Although I found both protagonists exceptional, I think she is the one with the more demanding role from an acting standpoint. Despite the many changes and circumstances her character experiences, Balfe is able to maintain Claire’s distinctive attitude with remarkable subtlety and consistency. She manages to convey the character’s inner strength even in the face of profound emotional hardship.

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What are your favourite movies? Did you watch The King (2019)? I thought it was ok, not very accurate. Regarding medieval period I enjoyed Lion in the Winter (1968).

Hello!

Although I've heard of The Lion in the Winter, I haven't watched it yet, so I can't really comment on it. However, I do agree with you regarding The King. It takes a Shakespearean approach, which in itself is not exactly known for historical accuracy. Also, in my humble opinion, I would have preferred someone a bit more... physically imposing, let's say, to play Henry V. I know how to distinguish between history and fiction, and inaccuracies don't bother me as long as no one is trying to sell me a product dressed up as something it clearly isn't. What I absolutely love about this film (and this is beyond dispute) is the soundtrack, which I find absolutely magnificent.

I'm not sure whether we're talking exclusively about historical films and TV series here, but I'll limit myself to those for now. There aren't that many, since fortunately or unfortunately I'm not an avid consumer of films or television, so I'll probably end up listing some of the most generic titles imaginable, sorry not sorry. I can't really say I have a favourite, but I can say what I liked about each of them.

The Crown. By far the best production I've seen so far. Even though I'm not particularly familiar with that period of English history - and therefore can't always tell fact from fiction - I personally loved the way the subject was handled.

Wolf Hall. Before reading Hilary Mantel's series, I never paid much attention to Thomas Cromwell. Both the adaptation and the novels fascinated me because of the atmosphere they created. I was drawn in, held captive against my will, and by the end I never wanted to leave. As with the previous example, the soundtrack is chef's kiss.

The Last Duel. I really enjoyed the triptych narrative structure in which each character presents their own version of events. What fascinated me most was the importance of examining a conflict from every perspective involved, regardless of what may actually have happened in reality - and here we're stepping beyond the boundaries of the film itself. The way human nature operates under circumstances involving life and death is endlessly compelling.

The Borgias (2011–2013). Much the same applies here as in the first category. It's fascinating to see how many different ways the same story can be told by juggling fiction, legend, and historical fact. I recently finished reading a novel about the Borgia family by Jean Plaidy, which honestly sparked my interest in them even further.

The Red Tent. What attracted me most to this miniseries was its reimagining of a biblical story told exclusively through a female perspective.

Tut. Well, you know the saying: when the costumes look better, the problem lies with the story. Despite my intense disappointment with the rather unflattering portrayal of the relationship between Tutankhamun and Ankhesenamun, I still found it interesting to watch. The actors were phenomenal.

Elizabeth / Elizabeth: The Golden Age. Although the second film is generally regarded as a decent sequel, I adored both films for the performances - especially Cate Blanchett's - the costumes, and of course the extraordinary woman who was Elizabeth I.

The White Queen. At first I thought it was excellent, and although it will always hold a special place in my heart, I admit it has many shortcomings. Still, it's a good starting point if you're interested in the Wars of the Roses or simply want something enjoyable to watch on a Friday evening. Despite its inaccuracies, it's still better than The White Princess or The Spanish Princess, lol.

The Pillars of the Earth. I know the story is essentially fictional, but I can never overlook Ken Follett's remarkable ability to craft a narrative and develop his characters against the backdrop of different periods of history, from the Early Middle Ages to the dawn of the Industrial Age. I highly recommend his books!

The Hollow Crown. A television adaptation of William Shakespeare's history plays. It is Shakespeare almost in its entirety, but presented in a format that is highly accessible to modern audiences.

Britain's Bloody Crown. A documentary series presented by Dan Jones. Useful if you're curious about the war between the House of York and the House of Lancaster, which divided medieval England for thirty years. I really enjoyed the combination of dramatic cinematography and Jones's historical commentary.

The Serpent Queen. My knowledge of the Medici family amounts to little more than scattered fragments, but Samantha Morton's performance is entirely to blame for changing that. I loved every word, gesture, and expression. Samantha Morton doesn't play Catherine de Medici - she is Catherine de Medici.

The Last Kingdom. I own all the books in this series (they're still waiting to be read), and I've watched the TV adaptation, which completely captivated me. I'm eager to discover the differences between the two, but I admit I need to find the right moment; past experience (with The Grail Quest series) has taught me that Cornwell has a wonderful writing style, though it can become a bit exhausting at times because of the detailed battle descriptions.

I'm not sure if it belongs here, but I'll include Peaky Blinders as well. My cousin's husband had convinced me that it was worth watching and, well... he was right. It's probably one of the few adaptations that was a masterpiece from beginning to end.

My Lady Jane. Normally I wouldn't recommend something like this, but despite being a mix of historical comedy, fantasy romance, and alternate history, at least this one made me laugh a bit, lolololol.

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Anne Neville, Countess of Stafford | PROUD CIS (WIP).

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The medieval love bureaucracy: I love you, sign here (1420 edition)

Henry V: You will become my father-in-law today. Charles VI: Well… that’s not exactly what I had in mind for the princess Cath— Henry V, raising his mace: I’ll give you time to get used to the idea. You will become my father-in-law today.

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🦋All my sincere thanks and deep gratitude to everyone who is helping encourage others to donate for my daughter Farah, who is fighting for her life. What you are doing is not just support—it is the highest form of humanity and compassion. You are giving hope to a mother who fears losing her child at any moment. May your kindness be returned to you in endless blessings🥹🙏🏻💔.

https://chuffed.org/project/153965-urgent-appeal-kidney-failure-and-autism-threatens-farah

Wishing you strength during this difficult time. I hope you find the support you need!

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Hii! I know I told you that once, but I absolutely love your art, and especially the way you draw the clothes. Which made me realize I didn't know any of the names said clothes. Would you be so kind as to tell me what they are ? Pretty please ? I know I could make a Google investigation, but I think you'll answer my question better 😶‍🌫️

Hello! :)

Thank you so much for your support! <33333 I’m really happy that you like my clothing designs. It’s one of my favorite parts of building a character, and I’m truly glad it caught your attention.

A discussion about the garments worn in the 13th–15th centuries is quite extensive and can involve dozens - hundreds, even! - of textile elements. So I’ll try, as much as possible, to focus on the ones I’ve used in my drawings so far. I should mention, though, that I tend to mix many elements together, often from different periods, to create my own outfits. What I do aims to be only partly historically accurate; the other half is about expressing my own creativity.

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England, 1454

Richard, Duke of York: YOU, MY SON, WILL SUFFER THE MOST TERRIBLE PUNISHMENTS IF YOU DO NOT OBEY ME! Edward, Earl of March: Father, I am in Ludlow. I think this might be for someone else… Richard, Duke of York: Ah, right. The letter was for Exeter. Edward, Earl of March: So I’m safe then? Richard, Duke of York: DON’T GET TOO HAPPY. I’M WRITING MORE COPIES.

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Edward IV, King of England and France, Lord of Ireland… and keeper of one irrepressible heir.

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Hey, I love your drawings and you love for history of the period of Wars of the Roses. What is your opinion on Charles the Bold, and his wife Margaret, daughter of Edward IV?

Hello, anon!

Thank you for your support! <33333 I believe you’re referring to Margaret Plantagenet, the sister of Edward IV, daughter of Richard Plantagenet, 3rd Duke of York. Margaret of York, Edward IV’s daughter, unfortunately died in 1472, a few years after the marriage between Charles the Bold and her aunt, Margaret.

I’m being honest with you when I say that I don’t (yet) have too much information about any of them. So I’m not really in a position to offer a concrete opinion. However, if I wanted to learn more about them, I would consult the following sources [titles written in italics are articles], which I own but haven’t yet studied and hope will prove helpful:

Wim Blockmans - Staging the Court of Burgundy. Proceedings of the Conference The Splendour of Burgundy".

Nicholas Michael - Armies of Medieval Burgundy, 1364-1477.

Bart Van Loo - The Burgundians: The Vanished Empire.

Christine B. Weightman - Margaret of York: The diabolical duchess.

Christine Weightman - Margaret of York, Duchess of Burgundy, 1446-1503.

Thomas Kren - Margaret of York, Simon Marmion and The Visions of Tondal.

Andrew Brown - Court and Civic Society in the Burgundian Low Countries, c. 1420-1530.

Richard John Walsh - Charles the Bold and Italy: Politics and Personnel.

Hugo van der Velden - The Donor's Image: Gerard Loyet and Votive Portraits of Charles the Bold.

Richard Vaughan - Charles the Bold. The Last Valois Duke of Burgundy.

Mario Damen - Gift Exchange at the Court of Charles the Bold.

Mario Damen - Charity Against the Odds. Margaret of York and the Isle of Voorne (1477-1503).

Paul de Win - 'Danse Macabre' Around the Tomb and Bones of Margaret of York.

Livia Visser-Fuchs - Scenes from the Life of Margaret of York.

John Ashdown-Hill - 'Al ful of fresshe floures whyte and reede': The Jewellery of Margaret of York and Its Meaning.

Werner Paravicini - The Court of the Dukes of Burgundy. A Model for Europe?

Johan Oosterman - Scattered voices. Anthonis de Roovere and other reports of the wedding of Charles the Bold and Margaret of York.

If you'd like to learn a few things about Charles's father, Philip the Good, I suggest the following:

Craig Wright - Music at the Court of Burgundy, 1364-1419.

Otto Cartellieri - The Court of Burgundy.

Carol M. Chattway - The Order of the Golden Tree. The gift-giving objects of Duke Philip the Bold of Burgundy.

Richard Vaughan - Philip the Good. The Apogee of Burgundy.

Joseph Calmette - The Golden Age of Burgundy. The Magnificient Dukes and their Courts.

Ewald Van Looveren - Ghent, 1458: The Joyous Entry of Philip the Good. The Ritual of Burgundian Spectacle Used by Urban Politics.

Sumiko Imai - The Gideon Tapestries and Philip the Good, Duke of Burgundy.

Sumiko Imai - The Portrait of Philip the Good, Duke of Burgundy at Prayer: Crossing of Sacred and Profane, or Public and Private in Early Netherlandish Painting.

Willy van Ryckeghem - All the friends of Philip the Good.

These books provide a broader context for the topic, which also includes the Dukes of Burgundy.

Jonathan Sumption - Cursed Kings: The Hundred Years War.

Jonathan Sumption - Triumph and Illusion: The Hundred Years War.

Juliet Barker - Conquest. The English Kingdom of France, 1417-1450.

Michael Livingston - The Two Hundred Years War. The Bloody Crowns of England and France, 1292-1492.

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The garden was still damp with dew, the grass gleaming like an emerald fabric beneath fingers of light that slipped through the crowns of the trees like ribbons of gold. Reflections gathered in her headdress adorned with rubies, sapphires, diamonds, and pearls - a small sky in miniature, worn upon her brow. Their sparkle made the birds (queens of their own nests) stretch their feathered necks toward the duchess’s procession. The hem of her gown brushed the tips of the roses, as though testing whether the world still responded to her touch.

John walked a few steps behind, never letting her out of his sight. He neither wished to hurry her nor to frighten her. His gaze, gentle as still water, concealed a deeply rooted fear: the fear of losing something he did not know how to hold. He knew his wife was not afraid of him; and yet she fled. Not because she did not know him, but because she knew him too well. Very well!, he could play this game too. A soldier who does not know if he can win the battle has no reason to sacrifice his ally.

A branch snapped beneath his step. Anne started, as if struck by a fist. A small gesture, yet one that hit him like a reproach.

“Anne, you must let me speak to you.”

She stopped, but did not turn. The wind lifted a curled strand of her hair, and the light revealed a fragility she never showed in public.

“You speak anyway, John.” Her voice, calm, had sharp edges. “Everyone speaks. About me, about the child, about Burgundy. You will not convince me that everything is well just because you wish it so.”

“I do not want to hurt you.”

Anne turned toward him, her skirts rustling like a wave striking rock. Her back was straight, as if she held the world in balance. Yet her hands, clasped above her belly, betrayed her unease. Her eyes glistened with moisture: the dampness of a storm, not of weakness. She seemed on the verge of breaking, without knowing where.

“You are not the one who hurts me. I am not a foolish girl, John. I know exactly what I am: the daughter of Burgundy, granddaughter of Philip the Bold, sister of Philip the Good. I know my worth and what I represent for both England and France.”

Bedford remained still, almost blending into the landscape.

“But that worth does not belong to me. My body, my blood, my alliances - everything is weighed by others. By my brother. By your councillors. By the Armagnacs. By all those who see in me a bridge or a weapon.”

“This child is not a bargaining coin, Anne. It is not a political trophy. It is ours.”

“Ours? After all these years of being looked upon as barren land? As an alliance slow to bloom? You do yourself a disservice by lying to me. You know what is said. You know what is whispered.”

A tear clung to the corner of her eye, a rebellious pearl, yet she held it captive. She had long since learned how costly tears could be. Damn her if she let it fall. She would not use them as either weapon or comfort.

“And now, when it finally happens, you tell me it has nothing to do with politics? That this child is only flesh and blood? That you would not place it upon golden scales the moment it is born? How am I to believe you?”

“I do not want you to speak of the child as a duty.”

She laughed shortly, mockingly, like the ring of metal.

“Oh, no? Burgundy waits. The court waits. Your nephew waits. You...”

She stopped, biting the inside of her cheek. She did not want to burden him with the baseness of others, though God knew he deserved it. Her lips parted, revealing small teeth, ready to bite.

“You need an heir. A sign that the alliance works. A reason to be satisfied with me.”

“You know well that is not what matters to me.”

He tried to approach, but Anne instinctively stepped back, like a bird unsure whether the outstretched hand would caress or ensnare her. John closed his eyes, as if struck.

“I have never blamed you… God is my witness…”

“You have. Always. Even now.”

“Anne…!”

“And if I lose it?” she asked, cutting off his breath. “What will they say then? That Burgundy gave nothing. That I gave nothing. That the alliance is weak and that you chose wrongly.”

Bedford meant to move slowly, carefully, but a sigh escaped him - exasperated, almost sacrilegious. Like an old door closing over a prison. He took her hands in his. Anne shivered. They were cold as two wet stones, just like her fears.

“Do not dare say that again,” he commanded, authoritative. “Do you understand me, Anne? Never.”

She did not resist, but neither did she yield. Her hands remained rigid, two pieces of armor.

“Burgundy does not give its daughters lightly. My marriage to you was a declaration of war.”

Bedford restrained the urge to shake her until her eyes spun. The truth was, her attitude disarmed him. How could a woman so small make him lose his mind? “Live with your wives in an understanding way...” the Apostle Peter had advised. But how, God forgive him, could one do so when they overturn your world with a single sentence?

“If the Armagnacs win...”

“They will not win! I will not let them!”

“...and Philip changes his stance, if the alliance falters, this child will be claimed by all. It will be symbol, pretext, shield or sword. And I will be caught in the middle. And you go on denying it, as if when you speak I do not hear the war. I do not hear the crown. I hear France and England, but never you.”

For the first time, Bedford was left without words. He drew her close with desperate tenderness. He bowed his forehead to the crown of her head, as though sharing a secret.

“Anne, what truly troubles you?”

“I am afraid, John,” she said at last. “Afraid of everything that will happen if I cannot. I know the world does not change because we wish it to. I only ask you to see me. Not just Burgundy. Not just my womb.”

He laughed softly, relieved, a few strands of hair falling loose in a playful way. He did not laugh at her, but at the fact that he could breathe again. The garden seemed to bend over them like a sanctuary, an Eden that received them for a moment. Her hands began to warm in his, as though only now had she decided to yield. To yield to him. Completely.

As if reading his thoughts, Anne murmured:

“You insolent little Plantagenet.”

“I see you, Anne. I have always seen you. And the miracle we have created together. Whatever happens, I will remain here. This child will come into the world under my shield, and the English will not lose so long as I can hold a sword in my hand. Because you and the child are mine. Both of you.”

. . . I don’t know how many of you know that before I started writing Proud Cis, I had wanted (and had even written a few scenes) for something I intended to be a book about John, Duke of Bedford, and Anne of Burgundy. Well, some time ago I came across that file, so I thought it might be worth rewriting a small scene, for which I also made a quick sketch. Because why not?