Did you ever have a project that you were SO geeked up about that you were working and working on it and waiting until you were totally finished to share it?  But then, life happens, and it still isn't done?  Well this post is about one of those projects.  I started this a year and a half ago, but it was taking so long I had to stop to do Pennsic prep and then got side tracked with life.  The project recently resurfaced because I had questions about something tangental to it, and so I am going to go ahead and talk about it here.

​Munsell's system for coding colors is a little like Pantone (something with which people are often more familiar, especially given the popular media stir created annually when they announce the Color of the Year).  Munsell's was developed nearly a decade ago to create a guide to help classify soil samples by color.  It takes into account hue (color), chroma (how intense it is) and value (how light or dark the color is).  It is used in a variety of applications, but there are specific field guides that relate to archaeology, including the aforementioned guide for soils, and one for ceramics and one for glass beads.  The last is the one that I find most interesting.

I learned about the guide when I was doing Viking Age bead research and stumbled across Matthew Delveaux's blog https://textandtrowel.wordpress.com/  He has a specific article about Viking Age glass colors (HERE) and wrote a piece housed on the Munsell site (HERE). 

So this is all super cool, right?  I personally love it, but there are some issues I have discovered:

• The book is insanely expensive.  It IS available via ILL as I mentioned, but you would need to have all of your samples ready before getting it, I would think.
• Not everyone uses this system for categorizing colors.  Delveaux did amazing work with the Viking Age beads he worked with (and also, if you want to totally freak out over an incredible data set, check this out.... https://dataverse.harvard.edu/dataset.xhtml?persistentId=doi:10.7910/DVN/RODUZG ). I think his work is the only Viking Age work I have seen.  I have some English beads categorized like this and a few other papers here and there, but I really wish there were more that were relevant to my interests.
• Vision and color are funny things.  Some people have a very limited range for color vision, while others can determine different colors in a similar set more readily.  Education and understanding of color (which I fortunately have) also helps better interpret results.  I feel it still give a good base starting place for my selecting colors.
• Certain glass colors can change over time (or being buried in certain conditions), so results can sometimes be off despite best efforts unless there happens to be a more recently broken sample where the inside can be categorized.
• Glass changes depending on the temperature at which you work it, how long you work it, how it is annealed, etc.  Even buying standard glass colors can have a broad range between batches (the image to the right are all Effetre #444).

Once I do complete this project, I will most definitely be sharing the results here.  But while I am at it, I also want to recommend looking at Moa Råhlander's (Sigrid Beadmaker in the SCA) work, particularly her article Spår av tillverkningsmetoder i glas.  She is a researcher AND beadmaker and kindly shares her comparison to standard Effetre colors for the historic samples!

I have had several conversations lately with individuals who are starting to build out time and place specific personas (or kit) in the SCA and I wanted to put a few tips into writing for those interested in pursuing that path.  Some people are drawn to a rough time frame (i.e. 12th Century or "early Medieval Spain" or Viking Age), but even within those parameters, one is really looking at a broad scope of events and material culture and dialing into fine details can make a huge difference in how realistic a portrayal can be.

​I was looking at building a kit for a wealthy woman from Kaupang, a Viking trade centre in Norway.  The site was established around 800 CE and was abandoned in the mid-900s CE.  I specifically was looking at 850ish for my time frame.

Fortunately for me, Kaupang has a wealth of preserved material culture, including a number of textiles.  The famous grave of the "Oseberg Queen" is also not far away chronologically (834 CE) or geographically (it is within the same modern day county).  The grave provides information on shoes and textiles, as well as other material culture, and the settlement and graves give me additional textiles and a wealth of jewelry and beads to work from.  In reality, I did not have to stray too far to build out plans for moving forward.  

Were I looking for additional details, trade routes come into heavy play, and I could easily tap into Denmark (assuming I stick to 9th century), but I would most definitely avoid something like finds specific 10th Century Birka unless I had no other option for evidence.

Iron Age Celtic is much more difficult.  I am working primarily from finds from Durrnberg/Hallein.  again, I have a wealth of material goods from the numerous graves near the site, and a wealth of textiles from the salt mines.  Jewelry is dated in the archaeological reports, making it easy for me to build specific kits for various time frames.  The difficulty in this comes in piecing together clothing items.  When researchers write about Celtic clothing, the figurative sources are so few that they are often compiled within documents together, as if they form a cohesive look at a moment in time.  The reality is that they often span 4-8 centuries of material (depending on the paper).  Written history comes from other cultures (which sometimes might be written in a way to provoke a desired response in readers of that time), and again, is often compiled from documents spanning many centuries.

And entire extant garments?  We just don't them for this time+place+culture.  This begins a delicate game of research where you have to start building a puzzle with pieces that definitely do not belong together, but if you manage to chose the right ones, you can still form a plausible picture in the end.

An example is the Iron Age textiles from Vedretta di Ries in Italy.  There are shaped leggings as well as shoe linings.  These could be a basis for leg coverings, though they potentially date early for my La Tene A kit (socks date 795-466BCE; La Tene A is 450-380BCE).  They are from Italy but not horribly far from Hallein.  There are socks from Martres de Veyre in France, but these date late 2nd-early 3rd century CE, and are much, much further from Hallein.  Additionally, they are completely separated from my chosen location by the Alps.  If I were to have only these options to work from, the Italian find is much better fit for my puzzle.  (Of course, I could also analyze both and draw comparisons between the two - and any other relevant leg coverings I could track down - and possibly even make a case for similarities and possible use across a more broad span of time, if I felt like trying to go down that particular path.)  It not always easy to juggle the priority of time, place, and culture to make the best guesses we can.

I also enjoy all of this as a bit of experimental archaeology as well.  If I have several possible items, I might make them and test them out.  Do they work in reality?  Are they functional?  Do they serve a purpose or in some way pull other things together?  It is fascinating what you can learn by wearing and doing.

In the end though, we sometimes we have to use what we have until something better is found.  We go early or late, and skip across modern borders, to build out the best look that we can, while realizing all the while that it is the best we can do ​now, and the process is never truly done and we will always find more pieces to our puzzle.

There has been a great deal of discussion over the last few years in the SCA bout diversity and equality, about opening our arms and (helpfully) making others welcome.  I think that this is not only essential to the survival of the Society, but it is, honestly, the right thing to do all around.

One topic that I saw just recently is that some PoC feel uncomfortable with titles such as Master or Mistress.  I can say that I never really looked at it in that manner, but yes, I can see that being a problem.  While some are resistant to change, I have seen the vast majority my friends embracing the idea.  It is an opportunity to make a welcoming place for others, and I am very much on-board.

Yes, it is one step, a first step for many, and hopefully we will be able to work to make additional changes as needed to welcome others into this weird world of the modern Middle Ages.

On a personal level, I never have the expectation that anyone remember my title, let be required to use it (though I am flattered if someone does).  MOST Laurels that I know feel this way.  Really.  I know newcomers can be flustered by all the coronets or regalia or titles, but it is perfectly ok to ease into the in-game culture and we ALL forget (ALL the time).  

It is OK.

So now I am actually enjoying the exploration I am seeing for alternative titles.  A few friends are going to opt for Laurel (FirstName).  That absolutely works, and might make for a safe new “general” title that anyone could use if they do not know the preferred persona-based title someone might use, but want to make a formal introduction.

For a new cultural based title I have been following conversations online, and have seen variants of teacher or professor and find that line of thought very appealing (I love teaching so very much).  I sourced Laurel Fridrikr Thomasson (I am unsure of his chosen title), as he is a student of Old Norse, and he suggested Lærimoðir, which translates as “lore mother”.  I LOVE this.  Love it so much.  I asked for the pronunciation and was told “lair-i-moth-er”, which is indeed awful close to the translation of Lore Mother that I wonder if just using that would be “ok”?  Even more exciting was my discovery that it is already on an accepted alternative title list - http://heraldry.sca.org/titles.html#Viking%20Icelandic.

So yes, I can identify with this.  

But the reality is, if you are shouting across a crowed room for me, the absolute best way to get my attention is to just call for Elf, because I will more readily respond to that than even my given name (especially in an SCA environment).

So a friend recently did an awesome thing, and I have to share it.  It is not only unique and visually quite stunning, but I absolutely love how she handled the overall process and I want to get it the bandwidth it deserves.

For those who have not met her, Hypatissa Anna Dokeianina Syrakousina, runs the blog Anna's New Rome, and is a Baroness and amazing researcher and artisan in the SCA.  She is also mundanely a historian, and that shows in her work, but I also think that this specific project really shows how others can make a step forward into new areas even without modern credentials to back them.

Her COVID project was Hittite clothing.  This is (I think) and unexplored are in the SCA and I love that people are starting to step away from the things we see at every event and digging into lesser known cultures or periods.  

Here entire thought process is part of her blog post which can be found HERE.  Please take your time to read it and check out the photos of the two outfits she presents as part of her first draft of this work.

I think it is obvious that I love to blog my own projects and experiences (even if rural internet is my downfall lately as it makes posting very difficult).  But I also love to look at the work of others and want to share some things I love about this project in particular.  If you are trying to figure out how to start something new, or want to organize it for a blog, this definitely serves as a nice example on How-to.

1. It is well, and simply, organized.  She gives a brief introduction on who the Hittites were.  This is key because it is a lesser known culture in an SCA context and this allows the reader, who might love the outfit enough to want to craft one, to be able to also relay that information when someone complements their garb.
2. She was starting fresh with this project (her area of expertise is Byzantine), so she gave a run-down of the types of sources there are, and what she knows about them. 
3. As she lists her choices, she gives the rationale behind each.  This helps others understand they why's behind what they see and also might inspire other ideas for things to try.
4. Photos!  Nice, clear photos that make the garments easily readable to others.
5. Observations - this is one of the best parts of this blog post. She already is learning what works and what might need changed, so that she (and the reader) can take the next steps better informed.

I do want to call out one additional, and very key, item.  Early in her post she makes the statement, "At this point, as the research appears to be super-new, I understand that this body of work will raise more questions than it will serve as answers, and I am willing to bring forth that needed dialogue, and accept changes will need to be made this early in the study. As far as I know, I am the first SCAdian, and possibly scholar/experimental archaeologist to try this. Please be patient with me as I iron out the kinks, and work to determine the best patterns and ideas before adding a ton of information that may not be correct. I know that some of this reads a bit choppy, I plan to flesh it out as I continue to build my arsenal of sources."

I think that sometimes we can be paralyzed with the idea of starting a new work, especially if it is something less well known.  There can be fear and trepidation of somehow doing it all wrong.  Be honest as to where you stand with the work and how far into the process.  Every single thing we do in the SCA had a start somewhere.  At one time all the Viking women were wearing two tea towels pinned at the shoulders and the more we learn, well, the more we learn.  

Part of working with history in the manner in which we do is accepting that this is an ever-evolving science, in our own personal work, as a group of re-enactors as a whole, and in the broad scope of historic studies in the world today.  We all start somewhere, and it might not be right the first time around, this is why we document things, share them, discuss them, research more, and then revise the whole process. Admitting that we do not know everything there is to know about something (even if we are currently wearing it) is not something to be ashamed of, but rather it speaks to our curiosity and our willingness to keep learning.  Baroness Anna is already digging into more resources and talking to others who work in this field to help expand her work in the area, and I absolutely am looking forward to seeing more.

I love the fact that I am full-time COVIDing in Nowhere, WV, but the downside is such terrible internet that it makes it hard to upload photos to the internet.  I did post three necklace projects to the Iron Age Celtic portion of this site last night, and those can be found here:  awanderingelf.weebly.com/iron-age-celtic-studies

I am also running a short series of reviews of books I absolutely love on my Facebook page here: www.facebook.com/pg/awanderingelf/

I do need to share the new linen scarves I discovered last weekend.  I bought the olive and white striped one and it is absolutely lovely (excellent value for the price).  I know some folks here are fans of the Amazon scarves, so happy shopping!!!

I believe I have previously mentioned the massive, incredible project Fashioning the Viking Age on here before (I know I talk about it in mu classes).  

The initial report can be found here:  ctr.hum.ku.dk/nyhedsliste/fashioning-the-viking-age/

The actual site for it and the descriptions of the three parts are located here:  ​natmus.dk/organisation/forskning-samling-og-bevaring/fashioning-the-viking-age/

But mostly, you need it hit Instagram immediately.  Very specifically you need to check out this item:  https://www.instagram.com/p/CAXiWwLnX49/?utm_source=ig_web_copy_link

Some of you know I am in awe of the type of woven goods that were produced in period (see article here ) and I am overjoyed to see someone replicating one of these incredible, complex pieces.

The Instagram account is totally worth following, btw and the project is astonishing in its scope!

I have talked at length about the relative lack of embroidery in Viking Age finds, but I am going to summarize those earlier discussions here as a preface to some new thoughts.

Embroidery as a whole in the Viking Age is exceptionally rare, compared to the thousands of textile finds that we have.  Figurative embroidery (rather than just a line of stem stitches, such as that that covers a hem seam at Birka) is even more rare.  Of the few samples we do have, some can possibly be attributed to other cultures (such as some of the glorious work from Oseberg being possibly Saxon, Mammen has also been considered as such by some authors, the metal thread embroidery from Valsgarde is thought to either be Byzantine or Slavic, or a copy of the work of those cultures).  Even if all of these were native work, the number of these items is minuscule compared to the over all body of textile finds from the period.

It also is smaller than the number of woven patterns in period.  (I have started a collection of this evidence here:  http://awanderingelf.weebly.com/blog-my-journey/patterned-weaves-preliminary-data ).  Tablet weaving itself is rare compared to prior periods, but that too is a type of woven patterning that exceeds the number of embroidery finds.

I have often wondered why this was the case.  To a modern person, embroidery is an easier art to adopt (and certainly needs less in the way of space or equipment), but in period weaving was dominant way to decorate textiles.  I have seen it argued that this was not a culture of linear art (they were not taught to draw from a young age as we were), and that makes sense.  I also wonder if there was something symbolic in it (we know that many ancient cultures have textile arts playing a prominent role in their mythology), or perhaps ritual.

As I read more about other cultures, times and areas, I see that this lack of embroidery in Northern Europe is reflected elsewhere as well.  Johanna Banck-Burgess notes the same phenomena in Central Europe in early Celtic works as well (this shows up in both her work on the Hochdorf burial and in the article "Prehistoric textile patterns: transfer with obstruction").  There we have various types of patterned weaving that are a result of manipulation of the web on the loom (whether it be by the turn of cards in tablet weaving, or supplemental threads used in soumak-like techniques or insertion of metal rings into the the weave of the cloth).  Embroidery is completely absent in some areas in early Celtic cultures, and very rare in others.

And you know what?  It does not stop there.  In the article, "Unravelling the Tangled Threads of Ancient Embroidery" by Kerstin Droß-Krüpe and Annette Paetz, the idea that mistranslation might play a role in perceptions of profuse embroidery in the ancient world.  I found this rather riveting to read because it very much parallels the conclusions I have come to about later textiles as well, that the number of embroidered items are very low compared to textiles that are either undecorated or decorated by means of weaving.

And of course, now I want to know the why of this even more.

No, no, not with me.  Sewing is not my love and I don't know that I could keep one track for a solid month.  This, however, is going to be amazing.  It will be hosted by Sophia Helen who is a wonderful researcher and artisan.  I very much encourage those interested in learning to build out their kits to participate!

https://www.facebook.com/groups/475385519799179/

2020 is going to be exciting on the art front for me.  Last spring, I finally purchased a kiln so that I can properly anneal my beads.  I went with the Paragon Caldera kiln (which I purchased through Mountain Glass).  I actually spent about a year pondering which kiln to get.  In the end, I went with the Caldera because I can get additional pieces (such as the bead door or an enameling window), but also because it goes up to 2300F degrees.  Many glass kilns don't go past 1500F, and I wanted to be able to use this for anything, including possibly eventually melting copper or bronze.

Not long after, I made a purchase of Precious Metal Clay (PMC for short, though that is both a brand name, and a generic term for the many metal clays on the market).

Metal Clay has changed my entire art world.  It is magic.  Pure magic!

For those who are unfamiliar with this product, it is a moldable base that is comprised of a an organic material and tiny particles of metal (silver, gold, copper, bronze).  It works as pretty much any clay in that you can manipulate it into a variety of forms, apply textures, use molds to create uniform shapes, even put it on a pottery wheel and throw a cup.  After allowing it to completely dry, it is placed in a kiln and fired.  This process burns out the vegetable binder, and allows the metal particles to fully sinter together leaving you with a solid metal object.

I have how-to books for metal clay.  I have watched dozens of videos.  I still did not fully believe it until I was removing my first silver pieces from the kiln and I accidentally dropped one and it made a distinctive metallic tink-tink-tink as it clattered across the floor.

Pure magic.  And I have to say this has absolutely opened up a whole new artistic field to me and I am loving it!  Below you can see the first two pendants I made from silver (Art Clay was the brand).  (Silver clay is pricey, but it is easier to work with than base metals such as bronze or copper, so it is typically recommended for those starting out.)  After these two items I got overly ambitious and attempted a silver and ruby ring, which crumbled while in the greenware state because I was a bit to aggressive cleaning it up before firing it.  Later I made another silver/ruby ring that fired beautifully, even though the work itself is clumsy and less than aesthetically pleasing.

I purchased Prometheus Bronze Clay next.  I used it to do a few test pieces, as I read that getting the correct firing temperature for base metals can be tricky, and had one pretty one that failed to sinter at all, and another that worked well and is most definitely solid metal.

After getting a bronze item to work, I set out to make a set of Saxon annular brooches for Pennsic.  Yes, yes, I know that is not how they were made in period, but things like this allow me to refine and art while also affordably adding necessary items to a kit for a complete picture.  I consider this to be the metal working equivalent of machine sewing something.  It will also definitely not replace expertly crafted items for reenactment items in which I have a deep research/time investment.  Things like my good Viking items will always come from those artisans who have honed their skills and who are producing quality period reconstructions.

I did have one brooch fail to sinter (I fired them separately just in case), but it was easy to make a replacement.  I tried to roll out clay to make a pin, but also had issues with that so I purchased bronze wire and hammered and sanded and heated and drove myself nuts, but eventually successfully made the pins for them.  (Metal work is completely foreign to me, so I was unaware that bronze is such a pain to deal with or I might just have used copper instead.)

Last month I finally had some more time and I prepared a Saxon girdle hanger as well.  The pieces have not yet been fired though, as I accidentally broke one while sanding them down in the greenware (dry, but unfired) state.  I have made a repair and should fire them in a couple of weeks.
​

And then I decided to try out Cyprus Copper clay on some modern items that I could use to develop better skills in working with this clay.  I am having an incredible time dreaming up pieces of jewelry and then seeing if I can shape them from magic clay.  

Below you can see the three pieces I am quite pleased with.  All three came out pretty much as I envisioned, and the setting for the sapphire in the top one is much cleaner than the ruby I tried this summer.  These pieces have all over-fired though, and you can see the bubbles in the large annulet on the right side (all of these pieces have the bubbles on the back side).  I am now running test pieces to properly dial in the temperature.

I also got exceedingly ambitious over the holidays and attempted to hand sculpt woody nightshade flowers into a pendant.  I added a bail after taking this photo, but the piece was drying last weekend, so I have not had time to look at the back and check for cracks.  I don't know that this has any chance at firing properly, but at the moment, at least, I am very pleased with the results.  

My mother got me a tumbler for Christmas, so I no longer need to hand polish pieces after firing.  I can drop them in the barrel and come back half an hour later to collect my shiny metal items.

And there is more!  I also dabbled in a bit with glass frit fusing towards the end of the year.  I mean, I have a kiln, so why not do all the things!  I made glass tree ornaments, and got a mold to make some garden things.  It was fun, but not addictive for me in the way that the clay is.

And speaking of glass, my amazing boyfriend has purchased an oxygen concentrator for me!  That means I will be stepping away from a hothead torch soon, and stepping up to duel fuel and some serious melting potential.

I hope that 2020 is full of amazing explorations of art!

It seems as though every year or two, someone makes a thread online in an attempt to resurrect the terrible "tradition" of passing the "cloven fruit" at SCA events.

For those unaware, this was a thing that happened at events long years ago where an orange studded with cloves was passed around (man to woman) and the principal was that when it was passed to you, you got to choose where the person would kiss you hand, mouth, etc), and of course you could decline.  In practice this thing could be terrifying to many people, myself included.  I am not at an event for a flirting game, let alone one that I am automatically force to be part of, until I have to decline to play (with others watching).  People literally quit over this back-in-the-day.  Others were traumatized over it (whether due to social pressure over it or because they had a gross creeper pawing at them).  These were not isolated incidents either.  Just in the angry responses I have seen to these threads, more people hated it than loved it.

Now, the good thing is that when these threads pop up, most people are more comfortable today having discussions about WHY this is a bad thing, and are doing a fantastic job of sharing why they found it uncomfortable (or horrible) in the past.  Most people, even those who adored the game decades ago, absolutely agree that the whole thing really must die.  I really do not think this hot mess of a "game" ever needs to return to a public space (though if people want to invite others to a private camp, with everyone knowing that if they show up they opt in... more power to them, I hope they have fun), but I still think the discussions need to be had for those who cannot wrap their head around why even mentioning this to day is just plain gross.

The original post is below (with my comments in red/italics):

If people in the SCA would follow these guidelines, cloven fruit could be enjoyable again. 
Wait, this was enjoyable for everyone that was trapped in a room while this was going on?  It was enjoyable for those who do not go to events for such activities?  This whole thing starts out as tone-deaf and only sets the stage for worse things to come.  (Oh, and the answer to those questions is NO, it was not enjoyable for many).

"History of the Cloven fruit During the Middle Ages, citrus fruit and spices were very expensive and highly prized in many parts of Europe. Both had to be imported via sea routes which were slow and hazardous. Some spices were literally worth their weight in gold. In those days, spices were used in a wider range of ways than we currently use them. Spices were used as medicines and as methods to keep demons and disease at bay. People wore pomanders, containers of spices and other good smelling things, from chains at their waist or wrist.

Pomanders and other methods of air fresheners were common in the Middle Ages. The use of herbs and spices alleviated the not so pleasant aromas of the time period. They were even thought to protect against the plague.

If a gentleman wished to show a serious desire to court a lady, he would stud a lemon or orange with whole cloves, gems and other expensive baubles. Then he would present this pomander to the lady of his choice. This demonstrated that he was wealthy and could provide for the lady. If she wished to be courted by him, she would accept it. 
I have not personally researched this, but a researcher I very much admired has called BS on this bit, so the idea of it being a documentable activity is sketchy at best.

This custom has been adapted to use in the SCA as a meaning for flirtation and introduction. The custom was revived (invented?) in AS VIII in the Canton of the Towers in the Barony of Carolingia of the East Kingdom. During a Christmas Revel, a cloved lemon was produced, along with an explanation of the history and significance of the custom. And thus began a tradition that is both loved and loathed by many.
And because a few loved it in a different day and age, the rest of us should again be subjected to the horror as we approach 2020?
​
When we play the Cloved Fruit game, there are certain rules and bits of etiquette that should be observed. First, remember this is a flirtation game and not a method for less-than-hygenic tonsil diving. The recipient is under no obligation to accept the fruit, especially when the person handing to them is inebriated and simply hands it to them with the expectation of full contact smoochage.
One thing to remember when playing this game, is that the lady is almost always in control. Whether presenting or accepting, the lady chooses the body part to be kissed, unless she gives up that control when she is the Presenter. This can be a hand, a cheek, lips or other more inventive areas. The Recipient chooses how far the kiss will go.
Oh how nice, it is noted you are under no obligation to take it.  What about being obligated to even be approached with it to begin with?  And lovely to acknowledge that the "lady" is in control... except she isnt because she might not ever have been wanted to be in this position to start.  (And do I even need to go on about "inventive areas" at what might be a public space? lol)

There are some basic guidelines to follow. The Golden Rule of the Cloved Fruit is to accept the decision of the other party with grace and wit. One does not simply lob the fruit at the victim and dive for the lip lock. One presents the fruit with grace and poetry and compliments. One accepts or rejects the fruit with equal grace. In my estimation, one should never reject a fruit. One can always accept a kiss on the hand if a lady, if a lord, offer to kiss her hand to honor her intelligence and good taste for approaching you in the first place. It’s all about style, baby.
In my estimation, one should never reject a fruit. This is absolutely the most horrific line in the whole thing.  So we are under no obligation to take it, but suddenly, one should never reject it?  This is archaic, horrible thinking.  This puts pressure on every single person who is already trapped by this potential creepfest.  I cannot believe that ANYONE in this day and age can seriously publish a comment like that.

When presented with a cloved fruit, you can choose to take a clove out with your hand, and this signals to the Presenter that they are to kiss your hand. You can take a clove out with your teeth, remove it from your mouth with your fingers and the Presenter can kiss you on the cheek. If you take a clove and bite it, it allows a deeper exploration of your lips and if you swallow the clove, you are inviting the Presenter to go looking for it. One rather debated tradition is what is implied if you take the last clove in a fruit, some suggest it is an agreement to spend the evening with the Presenter. Again, this is up to the Recipient to decide. Of course, my sister and I have been known to walk around with bowls of grapes with one clove in each fruit.
I have no words for this bit at all... especially when I remember the vile fruit being passed around at feasts.  

Andreas Cappellanus wrote in the 12th Century on the ideals of Courtly Love. While his thoughts are not always relevant today, some of his Rules are still very true.

“The easy attainment of love makes it of little value; difficulty of attainment makes it prized.”
“Every act of a lover ends with in the thought of his beloved.”
“A true lover considers nothing good except what he thinks will please his beloved.”
“Good character alone makes any man worthy of love.”

If you approach the game of the Cloved Fruit more as a method for showing respect and admiration of someone rather than an excuse to swap spit with a near stranger, you will be very close to the true purpose of the exercise. The ideals of Courtly Love are displayed by courteous behavior and gallant endeavors. Anyone can waggle their eyebrows and say. “Hey baby, ya wanna?” It is a far cry to present a cloved orange to the object of your affection with compliments and courtship.
So now we are expected to play along with the horror and assume that every person passing the stupid thing has lovely, chaste intentions, even though the past ABSOLUTELY PROVES THIS IS NOT ALWAYS THE CASE.  

The game of the Cloved Fruit offers many opportunities for grand gallantry and inventive flirtation. It should never be mistaken for permission to take liberties, unless suggested by the Recipient. It is fun and makes for great entertainment. Remember the goal is to meet someone and present them with compliments as well the cloved fruit. Well, ok, the smooching can be fun too."
By Sofia Matriani della Tempesta