The Esrova Court

VOLUME II ISSUED BY THE ON THIS 13TH DAY OF WZUVAR AG BYVCA OF 513 E.S. ✧──────────────⊱🜂⊰──────────────✧ In the wake of recent research by the Office of the Wardrobe into previously uncovered jewels and precious stones, the Office, under the patronage of Queen Amaya of Venzia, deems it fit to present a Compendium of Haeseni Gemstones. In recognition of the sheer vastness of Haeseni culture, this grand undertaking will be organized into distinct volumes, each dedicated to revealing the diverse meanings and symbolisms woven into the jewelry of the Esrova Court. Subsequently, these volumes shall serve as repositories of the history, traditions, and cultural nuances associated with each exquisite gem. The pages of this publication will unravel the unique stories and context behind each jewel, illuminating the depth of meaning they carry within Haeseni life. The Office of the Wardrobe takes great pleasure in unveiling the second installment of this compendium, which shall showcase the next eight gemstones. In doing so, it endeavors to provide an exploration into the interplay between Haeseni culture and the resplendent jewels the Haeseni have recently adorned. With this, the Court offers a glimpse into the timeless allure and significance of Haeseni gemstones. ✧──────────────⊱🜂⊰──────────────✧ I Bolite is a stunning deep blue, its crystalized form found rarely and only in small amounts. When found, it is in a cube shape, ranging from indigos to a blackish-blue in color, and translucent or opaque in nature. The gemstone is associated with healing, namely in healing afflictions, such as chronic illness. Furthermore, Bolite is believed to provide confidence when worn, allowing them to do something they were unable to before. What is interesting about this particular gemstone is its rarity. Rare in of itself to find Bolite naturally, it is rarer so to find cut Bolite and rarer even then that to find faceted Bolite. In the Haeseni culture, it is compared to that of meteorites in its rarity. ✧⊱🜂⊰✧ II The Tanzanite gemstone is known for its trichroism, namely in that it appears alternately in blues, violets and shades of burguny depending on how the gemstone is oriented. The gemstone holds multiple meanings and beliefs, more even then the colors it holds. It is believed to stimulate perception and intuition, in turn aiding one's vitality. It is said it is good to wear when needing something calm and soothing during difficult situations. Overall, it symbolizes transformation and wisdom. An interesting fact about Tanzanite is that when it is made into a wedding ring, it takes on an entirely different meaning. It is believed to imbue the couple with eternal truth, honesty and knowledge. ✧⊱🜂⊰✧ III Iolite can come in two different forms, the first being primarily purples, ranging from violets to lavenders. When angled a certain way, it can appear almost yellow-brown. The second form it can come in is blues, mainly a blue-gray that when angled can appear yellow in color. Iolite is transparent, and can come in any and all shapes. This gemstone is believed to have the ability to guide the lost home and to connect the living with the dead. Furthermore, it is believed to strengthen eyesight, to promote pure thoughts, intuition and self-acceptance. A gemstone heavily associated with clergy and particularly pious individuals. An interesting tidbit about Iolite is that it is believed that one should not wear it when going to sleep - not that anyone should be wearing jewelry when sleeping - as the belief is that the sleeping individual will find themselves lost. ✧⊱🜂⊰✧ IV Celestite is a delicate sky blue in color, with a luscious luster to boot. Found in geodes in small amounts, this gemstone is gentle and delicate in nature, formulating into elongated crystals when found. This gemstone is gentle, and with a soothing energy. It is believed to aid in tuning into oneself and needs, providing an inner peace and tranquility alike. It is highly recommended to those seeking quiet and an uplifting energy. Celestite is not only delicate in appearance but in nature, due to its properties, this gemstone will crumble apart when wet, and thus those who wear it must be careful. ✧⊱🜂⊰✧ V Tourmaline is typically found in not one color, but several! Elbaite is the name given to the most brightly hued tourmaline. These gems are found in cylindrical clusters, several colors blending to form an ombre from top to bottom. Blues, greens, pinks, purples, and sometimes even yellows or oranges can be found. The most commonly found elbaite is dubbed the “watermelon tourmaline”, due to its green and pink ombre. Tourmaline is said to bring reconciliation, peace, and healing. For this reason, tourmaline is often given to those the gifter wishes to reconcile with, or to mend a damaged relationship- or simply to let another know that they are forgiven. Due to such symbolization, it is renowned among diplomats and peacekeepers. It is interesting to note that “watermelon tourmaline” can also exude youthful energy. One who wears it may be regarded as a child of the summer - a compliment, especially during the characteristically bleak Haeseni winter. ✧⊱🜂⊰✧ VI There are many kinds of agate- moss agate, flower agate, and fire agate being among them. For this publication, however, we shall focus on Queen Amaya’s favorite; the fire agate. Fire agates are rather dull and unassuming at first glance, though once polished or cut, they are dazzling! Slightly iridescent, the stone shifts through reds, oranges, yellows, and even greens! Forming in somewhat bulbous shapes, the natural curve of the gem creates waves and rings of those shimmering shades. Fire agate, as the name implies, is said to represent warmth and passion. Those that don the gem may see themselves as caretakers, or protectors. Gifting another this stone is a sign of trust and respect, as well as thanks. ✧⊱🜂⊰✧ VII This stone is a rich blue in color, with specks of glittering mica forming stars throughout it- like a midnight sky. These specks are often gold, but can be silver or brassy as well. For longer than anyone can remember, lapis has been worn to fend off evil, seen as a stone of protection. It is also said to defend the wearer against deception and lies, dubbing it the stone of truth. Lapis, when ground into a powder, is sometimes used as an eyeshadow. This practice is said to make one more perceptive to lies. ✧⊱🜂⊰✧ VIII The Morganite gemstone ranges from soft pastel pinks to vibrant oranges. It forms naturally as crystals, shaped in a hexagonal prism fashion, the gemstone relatively flat overall. Morganite is associated with innocence, sweetness and with the ability to attract one’s soulmate and deepen personal relationships. All in all, it symbolizes unconditional love and compassion for one’s fellow person. To encourage new relationships, it is believed that wearing Morganite on your left hand is the way to go. When wearing this, it is recommended to pair it with Lapiz, to protect from oncoming negative relationships. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, qnd Astfield, Lady of the Westfolk, et cetera Her Ladyship, Ofeliya Fabienne Weiss, Assistant to the Mistress of the Wardrobe Her Ladyship, Aveline Kazimira Kortrevich, Assistant to the Mistress of the Wardrobe

A DISPLAY OF HAESENI ARTISTRY ISSUED BY THE ON THIS 17TH DAY OF MSITZA AG DARGUND OF 511 E.S. ✧──────────────⊱🜂⊰──────────────✧ In the spirit of victory and the recent surge of wealth that has blessed our beloved kingdom, Her Majesty, Queen Amaya of Venzia deems it fit to gather the citizenry of Hanseti-Ruska and its allies to revel in the artistic talents that enrich our lands. The festival will showcase the finest works of artisans, craftsmen, and jewelers, highlighting the unparalleled skill and creativity that flourishes within our borders. To commemorate this joyous occasion, the Queen seeks the collaboration of skilled jewelers in a recruitment effort for the esteemed Esrova Court's Office of the Wardrobe. Any degree of participation in this endeavor will not only contribute to the cultural vibrancy of our Kingdom but also provide a unique opportunity to showcase one’s exquisite creations to a discerning audience. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera. Her Ladyship,, OFELIA FABIENNE WEISS, Assistant to the Mistress of the Wardrobe

VOLUME I ISSUED BY THE ON THIS 12TH DAY OF JOMA AG UMUND OF 510 E.S. ✧──────────────⊱🜂⊰──────────────✧ In the wake of recent research by the Office of the Wardrobe into previously uncovered jewels and precious stones, the Office, under the patronage of Queen Amaya of Venzia, deems it fit to present a Compendium of Haeseni Gemstones. In recognition of the sheer vastness of Haeseni culture, this grand undertaking will be organized into distinct volumes, each dedicated to revealing the diverse meanings and symbolisms woven into the jewelry of the Esrova Court. Subsequently, these volumes shall serve as repositories of the history, traditions, and cultural nuances associated with each exquisite gem. The pages of this publication will unravel the unique stories and context behind each jewel, illuminating the depth of meaning they carry within Haeseni life. The Office of the Wardrobe takes great pleasure in unveiling the inaugural installment of this compendium, which shall showcase the first eight gemstones. In doing so, it endeavors to provide an exploration into the interplay between Haeseni culture and the resplendent jewels the Haeseni have recently adorned. With this, the Court offers a glimpse into the timeless allure and significance of Haeseni gemstones. ✧──────────────⊱🜂⊰──────────────✧ I The Opal can come in a range of colors, from hues of purples to reds. As much as its color ranges, as does its meanings and uses. It is said to represent love and passion, a gemstone perfect for use by the married couple as when worn, it brings about loyalty and faithfulness. It is rumored to bring about a clear head, to aid in disease prevention and to act as an emotional stabilizer. This gemstone has come to be associated with Queen Amaya herself due to her frequent usage of the stone throughout her reign, alongside married couples and the closest of friends. Because of this, the precious stone has since come to symbolize hope, purity and truth. The Queen Amaya is said to favor Fire Opals, the stone a fiery red with orange hues, perfect to represent her Ezrova Courts, her warmth, and the flame of her hearth. The Fire Opal in particular represents passion, excitement and creativity. Furthermore, it is said to give the wearer confidence, as any courtier - or royal, may require. ✧⊱🜂⊰✧ II Jade is prized as one of the toughest materials, the gemstone said to be tougher than steel and supremely durable. Though usually found in green colors, it sometimes comes in pink or purple hues as well, and the gem hosts an almost translucent appearance. Jade is said to bring luck and wealth to the wearer. Some say that wearing a jade ring will bring money into one’s hand. It is strongly associated with the nobility, and in some cases is considered a protector of the generations to come. In this way, it has become a symbol of prosperity. Not only for use in jewelry, jade is used in some musical pieces and instruments, such as chimes or a gong. It produces melodic tones and is said to be pleasant on the ear. ✧⊱🜂⊰✧ III Tiger’s eye is a dazzling result of petrified wood, creating rings and stripes of almost metallic, glittering golds and browns. As its name implies, Tiger’s Eye is favored among warriors and fighters, representing bravery, honor, and strength. Though usually formed in shades of gold and brown, the stone may also be found with streaks of red, blue and even purple. It is extremely rare to find a variant Tiger’s Eye entirely one color, almost always having at least a few bands of gold and brown. The blue Tiger’s Eye variant has several other meanings. Donning a similar appearance to the Evil Eye, which is said to provide protection from evil, this stone is said to represent similar values. Thus, the blue Tiger’s Eye has become a symbol of protection, as well as serving as a ward against evil- and those that may do the wearer harm. ✧⊱🜂⊰✧ IV With origins of centuries past stored within its crystal case, amber is not just a gem, but a piece of history- a window to another time. Amber is usually worn as beads or pendants, not usually being cut into any certain shape, and is said to bring a long life when worn. Being one of the few stones created through organic biological means, amber holds a definite representation of time. Often worn by scholars and historians, the gem is said to sharpen the mind and memory. For yellow amber, these meanings are even more pronounced. Aside from these implications, amber is also said to represent confidence and courage. Green amber, on the other hand, symbolizes new beginnings, as well as a journey of self discovery. ✧⊱🜂⊰✧ V The sunstone can come in many a color, ranging from oranges, yellows, reds and greens. It hosts an effect called aventurescence, namely that when peered upon, the stone seems to shine with a metallic glitter. The stone is said to be one to represent leadership, promoting a mental clarity and benevolence. It is believed to inspire joy and openness, believed to symbolize blessings and used most prevalently by those seeking to be or are already in leadership positions. Amidst the varying sunstones, there is one of rarity, the rainbow sunstone. It is a rare combination, holding a lattice with reflecting red copper throughout. Much like its brethren, it represents leadership but furthermore it is known to reflect willpower and inner strength. It is said to aid in opening oneself to give without fear. ✧⊱🜂⊰✧ VI The coral used in jewelry making is called precious coral, and it isn’t hard to see why it is called such. Coral takes on a beautiful orange-pink, shifting through shades of peach and cherry red. Coral is one of the few organic gemstones, as they form from nature and life itself. Similarly to amber, coral is said to bring a long life. The crystalline form of coral originates from the ocean, making it one of the most difficult gems to obtain due to the current Haeseni climate and location of the Kingdom’s capital city, Valdev. However, with fishing rods and a bit of luck, bits of coral may be brought up from the Balianese ocean that many Haeseni merchants frequent due to the formation of diplomatic relations with the Kingdom of Balian. Another way to gather coral is to trade with communities of Polyps, caretakers of the Aevos coral reefs. By helping Polyps care for their home, they may sometimes bring up precious coral as thanks. In light of this, coral has become a symbol of friendship and loyalty, as well as trade and alliances. A gift suitable for a friend, or political ally. ✧⊱🜂⊰✧ VII A truly dazzling stone, Alexandrite does not stick to one color. In fact, it shifts between many. In some lights, the gem appears to be a royal purplish pink, though in other lights or perspectives, it took on a vivid cyan. In places with little lighting, the material takes on quite a dark blue hue, akin to a sapphire. Being a rather rare stone, Alexandrite is rarely seen, though in recent times has become a staple in a certain scholar and socialite’s wardrobe. Lady Aveline Kortrevich associates this shifting gem to represent adaptability, as well as a kind of beauty she dubs “peculiarly pretty.” A stone that celebrates the beauty of being different. In this way, it has become a symbol of confidence. ✧⊱🜂⊰✧ VIII Bismuth, in its crystalline form, stands as a truly unique gem. When bismuth is heated, it shifts into a crystalline form that boasts colorful patterns and shapes entirely defiant of the traditional gemstone. Instead, it hosts a kaleidoscope of vibrant greens, purples and blues. The crystal’s shape adopts sudden slopes or ridges, offering the gemstone a unique and similarly visually appealing appearance. Looking past the visuals of the gemstone, the Bismuth Crystal is seen as a stone of transformation and a catalyst for change. It is believed to aid in releasing negative emotions and aiding in the positive, helping with mental stress and one’s own spiritual growth. The Bismuth Crystal has begun to grow associated with those seeking a new start in life, individuals seeking some form of something new and those wishing to carve a name for themselves in history. Lady Ofeliya Weiss would be seen donning this unique gem sometime before this Compendium was published, believing in its ability to stimulate energy, aiding in achieving her goals as well as enhancing vitality. The Bismuth crystal, mirrors the uniqueness inherent in every individual within our Kingdom. In this way, it has become a symbol of transformation and growth. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera Her Ladyship, Ofeliya Fabienne Weiss, Assistant to the Wardrobe Her Ladyship, Aveline Kazimira Kortrevich, Assistant to the Wardrobe

A CELEBRATION OF GOOD TIDINGS FOR THE TUVMAS SEASON ISSUED BY THE ON THIS 20TH DAY OF WZUVAR AG BYVCA OF 509 E.S. ✧──────────────⊱🜂⊰──────────────✧ TO CELEBRATE the season of Tuvmas, and honor our bravery in the fight against the evils of the heretical Veletz-Stassion alliance. Queen Amaya of Venzia has impressed upon the Court her wish to host a most extravagant ball, that we might all take leave to celebrate family and those of most companionable friendship. In addition to the proud noble houses of Hanseti-Ruska, the stalwart soldiers who continue to define our peace are, as always, welcome with open arms and personally invited. THE COVENANT and all those within its borders are welcome within the Esrova Palace’s halls. Servantry of courtly refinement will be providing a selection of lavish refreshments and food, with a special focus on Haeseni cultural cuisine and universally favored Tuvmas delights. Honored guests are welcomed to introduce those of Esrova’s Court to their own season’s cultural treats. This festive occasion will take place upon the 17th eve of Jula and Piov. The overseers of Esrova Prikaz bid all who attend a warm welcome and Godly blessing. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera Firress, DEIA, Royal Artist of the Esrova Court, Handmaiden of the Queen Firress, SERMI ULVEYN, Royal Bard of the Esrova Court Firress, LAELIA, Handmaiden of the Queen

✧──────────────⊱🜂⊰──────────────✧ HAESENI CUSTOMS - VOL IV GAMES AND RECREATIONAL ACTIVITIES ISSUED BY THE ON THIS 21st DAY OF TOV AG YERMEY OF 507 E.S. ✧──────────────⊱🜂⊰──────────────✧ THE HAESENI PEOPLES DO NOT SUFFER IDLENESS, and, even when huddled around the hearth in winter-bitten months, or on candlelit evenings after the long work-day, have found ways to entertain the heart and mind. Games and contests are among the most lively fruits of Haeseni culture, and a diverse selection of popular and noteworthy results of this gamemaking tradition is documented in this treatise, produced under the patronage of Her Majesty Amaya of Venzia. THE CONTINUITY REPRESENTED BY THESE TRADITIONS is immense. Many of these pastimes have endured for centuries, bringing joy and fostering friendship for the Haeseni in times beyond the memory of the living. It is the hope of the authors of this work that chronicling their natures and histories will secure them such that all coming generations may share in their warmth. GAMES AND REVELRY ARE A STEADY CORNERSTONE of the Kingdom of Hanseti-Ruska. They have kindled comfort in times of tumult, tightened the bonds between companions and enwrapped the nation in a spirit of liveliness and vigor that characterizes its people. In reading of them, one reads not only of the products of a resilient and inventive culture, but of a fire that has illuminated the Haeseni throughout their history. ✧──────────────⊱🜂⊰──────────────✧ I CREATED BY KING ROBERT I ORIGIN First publicly played at the foot of the Krepost in Markev, Haeseni Chess—skasyat in New Marian—was formalized by King Robert I in 231 E.S., when he published a rulebook to codify the increasingly popular game. Played by between two and four players, the core of the game is in navigating four pieces clockwise around the game-board and into a “home” area, all while avoiding being overtaken or cast out by another player’s pieces.1 HOW TO PLAY 1. Each player takes a side of the board and is assigned four pieces accordingly, all in an “out” area. 2. Throwing a six-sided die in turn, each player advances a piece of their choice forward by the result. 3. A player may move one of their four pieces from the “out” area onto the board’s “start” field if a six is cast; they must use their turn to move any pieces in the “start” field if there are still pieces in the “out” area. One variation of the game states that a player has three attempts to roll a six on their turn if they do not yet have a piece in play. 4. The pieces move clockwise around the board, the objective being to send them to their player’s “home” row. Pieces can “jump” over other pieces, but landing on another piece (that is not one’s own) returns that piece to its player’s “out” area. A player may advance past the final tile in the home row, though the first player who fills all four tiles of the home row with their pieces wins the game. 1] Robert I, Cetibor the Tarcharman, year unnoted: Haeseni Chess. [Link] ✧──────────────⊱🜂⊰──────────────✧ II POPULARIZED BY SOFIYA BARUCH ORIGIN Lafsk, having originated from the northern reaches of the Duchy of Valwyck in roughly 321 E.S, was popularized by Her Excellency, Duchess Sofiya Baruch, the Grand Lady of the Haeseni Court at the time. It is a game involving fifty-four wooden blocks stacked in alternating rows of three. Players proceed to pull the blocks from the tower until it collapses. The name itself roughly translates to the phrase ‘to fall’ in New Marian.1 HOW TO PLAY 1. Depending on the amount of players participating each player will roll out of 20, 30, or 40. 2. The first person pulling a piece will need to roll above 1, the next player will need to roll above 2, then the next above 3, etc. a. Ex. If there are less than 4 people participating, then the players should roll out of 20 3. This will continue until the tower finally falls. 1] Sofiya Baruch, year unnoted: The Game of Lafsk. [Link] ✧──────────────⊱🜂⊰──────────────✧ III POPULARIZED BY LAURITZ CHRISTIANSEN AND SOFIYA BARUCH ORIGIN Derived from the New Marian word for ‘to roll’, Werheg, originally known as Werheg Herzenz (“to roll lords”), is a game with ancient roots. Players roll a ball toward 6–28 candle-shaped ‘Herzenz’, originally wooden and occasionally featuring carvings of prominent figures. It was first formalized in 323 E.S. by Her Excellency, Duchess Sofiya Baruch, expanding the game’s reach beyond just the peasantry which invented it. The Herzenz have become more elaborate accordingly, with some noble circles preferring ornately painted iterations.1 HOW TO PLAY 1. Ten Herzenz are lined up—one in front, two behind it, three behind them and four in the rear. 2. Players take rounds in turns, successively rolling two balls at the Herzenz from a set distance. Each Herzenz knocked down is worth one point for the rolling player. 3. Knocking down all ten Herzenz with one ball is known as a Trazk; earning one affords the player all 10 points plus any points they earn next round. Knocking down all ten Herzenz with two balls is known as a Lauldtrazk; earning one affords the player all 10 points plus the points of the first roll of the next round. a. Ex. If, in two rounds, a player first rolls a Trazk and then 6 in the next, they are awarded 16 points plus the 6 of the second round. If a player rolls a Lauldtrazk and 4 on the first roll of the next round, they are awarded 14 points plus any they earn in the next round. 3. Whichever player has a higher number of points after twelve rounds is the victor. 1] Sofiya Baruch, Lauritz Christiansen, year unnoted: The Game of Werheg. [Link] ✧──────────────⊱🜂⊰──────────────✧ IV CREATED BY ALEKSANDRA STAFYR ORIGIN Weo Ovare, also known as "Who is it?" is a Haeseni guessing game designed for two players. The game utilizes a deck of 12 cards featuring Kings, Queens, and Palatines, however the figures listed on each card chosen are left to the players’ discretion. Its purpose extends beyond entertainment, serving as a tool to enhance knowledge of Haeseni notable figures and history. The ultimate objective is to successfully guess the person or card chosen by the opponent, with the first person to do so declared the winner.1 HOW TO PLAY 1. Do not look at the other player’s cards. 2. Only ask yes or no questions. 3. Avoid asking if the other player’s card is a Queen, King, or Palatine 4. Take turns between you and the other player. 5. Do not ask for outside help when playing. 1] Aleksandra Stafyr, Maya of Muldav, year unnoted: The Game of Weo Ovare. [Link] ✧──────────────⊱🜂⊰──────────────✧ V CREATED BY ELEANORA MANNOX ORIGIN Bottezk Zvaerdz is a beloved children’s game originating from the city of New Reza. It was first publicized in the year 348 E.S. by Eleanora Mannox and has gained notoriety ever since. The game, suitable for 2 or more players, starts with a synchronized countdown and the declaration “Zvas supae vy!” (Common: “Let it rip!”) as players release their tops simultaneously. The designated playing space known as an “arena” is a large wooden stadium designed for optimal spinning, usually resembling oversized serving bowls.1 HOW TO PLAY 1. Each player rolls out of 20 when the round starts. 2. The player with the highest roll wins the round. 3. A player who is beaten by more than 10 in a roll is knocked out of the arena. If the difference is less than 10, they are only knocked down. This applies regardless of the number of players. 4. Players earn one point for an opponent’s fall and two points for an opponent’s knockout. 5. The first player to reach 10 points wins. 1] Eleanora Mannox, 348: Haeseni Game of Bottezk Zvaerds. [Link] ✧──────────────⊱🜂⊰──────────────✧ VI CREATED BY AMAYA OF VENZIA PSKANY SKASYAT - "DRUNK CHESS" Translating literally to “drunk chess”, Pskany Skasyat is a drinking variant of Haeseni Chess devised to add merriment to the strategy game. For each time that a player has a piece knocked off of the board by a superseding opponent piece, the player whose piece is removed must drink and take a deduction to their two subsequent rolls. The game abounds in tavern-frequenting circles that demand a more lively, social air to the game. HOW TO PLAY Pskany Skasyat is played as Haeseni Chess, but players must ‘drink’ (roll between 1 and 6) when one of their pieces is knocked off the board and subtract that total from their next two rolls, down to a minimum roll of zero. An optional rule to conclusively punish the losers is for players to drink for all of their pieces that have not reached the home row by the game’s end. KENEMARV - “WE DRINK” The game “Kenemarv” (Common: “we drink”) requires two participants to successfully drink from two linked cups - traditionally made of aurum to ward off evil spirits - without spilling a single drop. Participants must sit facing each other to allow an adequate amount of space for the connected cups, which are connected by a singular chain. The primary objective is to finish the drink in both cups without any spillage. HOW TO PLAY 1. Participants will roll after every attempted sip. The numbers rolled are combined to reach specific cumulative targets. The first roll must add up to at least 4, the second roll must add up to at least 8, the third must add up to 12, and so on until 40. 2. If the sum is not met, the drink is spilled, and the participants must start over from the beginning. DRAZANIY “Drazaniy,” translating to “charades” in the common tongue, is a drinking game that puts a spirited spin on charades. Each player takes a turn as the "actor," attempting to convey clues without speaking while the rest of the group eagerly guesses. If the audience correctly identifies the charade, the actor must take a drink; however, if the guess is off the mark, the audience must indulge. The ultimate objective is not only to excel at charades but also to maintain sobriety amidst the merriment. HOW TO PLAY 1. Each player takes turns being the "actor" while the rest of the group serves as the audience. 2. The actor selects a clue without revealing it to the audience. 3. The actor has a limited time (e.g., one minute) to act out the clue while the audience guesses. 4. If the audience guesses correctly, the actor takes a drink. If the audience is unable to guess correctly, they must drink. 5. Every player who drinks must roll out of 100. The roll threshold decreases based on your initial roll. (For instance, if you roll a d100 and get a 93, you must roll out of 93 on your next turn.) 6. The first player to roll a d1 is declared the loser. The rolls continue until only one participant remains. 7. Rotate the role of the actor clockwise, and continue the game until each player is eliminated The sole player remaining is declared the victor. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia, Karosgrad, and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera. Firress, ADELA TARONITISSA DE LEUVEN, Matriarch de Leuven, Royal Scribe of the Esrova Court, Court Historian Her Ladyship, IRENA STEFANIYA KORTREVICH, Baroness of Koravia, Royal Scribe of the Esrova Court Firr AITHWIN ALDOR, Royal Scribe of the Esrova Court

✧──────────────⊱🜂⊰──────────────✧ CELEBRATING TWENTY-FIVE YEARS OF REIGN [!] Invitations depicting the King and Queen addressing the Court are delivered to all allies across the realm of Aevos. ISSUED BY THE ON THIS 17TH DAY OF JULA AG PIOV OF 507 E.S. ✧──────────────⊱🜂⊰──────────────✧ n invitation is extended to the citizens of the Kingdom of Haense as we gather to commemorate the Silver Jubilee of our beloved Koeng and Koenas’ reign! With hearts full of gratitude and joyous cheer, we celebrate this milestone, a moment so dear. Through trials and triumph, side by side they have stood, guiding our kingdom with wisdom, as only they could. To our noble Koeng Aleksandr II, and Koenas Amaya of Venzia, we offer our praise for their unwavering devotion throughout the days. Let us honor them with a grand silver feast; with music and merriment, our voices shall sing. We invite you, allies and friends of the Kingdom of Haense, to join us in this celebration. All guests are encouraged to don shades of silver or white for the momentous occasion. ✧──────────────⊱🜂⊰──────────────✧ Firress, ESMERAY LUCERAN, Royal Scribe and Lauzya of the Esrova Prikaz Court

✧──────────────⊱🜂⊰──────────────✧ CELEBRATING THE VICTORY OVER THE SIEGE OF BREAKWATER ISSUED BY THE ON THIS 15th DAY OF JOMA AG UMUND OF 506 E.S. ✧──────────────⊱🜂⊰──────────────✧ AS THE DUST SETTLES, the magnitude of our victory has settled with it. By bringing the realm together, distant neighbors leave the battlefield as brothers in arms, having secured safety for Aevos at the Battle of Breakwater Keep. By the benevolent wish of Queen Amaya of Venzia, the brave soldiers who forged our peace are formally invited to a victor’s ball. THE COVENANT and all those within its borders are welcomed within the decorated halls of the Esrova Palace, to be offered a grand selection of food and refreshments while they are honored for their valor through newly written ballads by the palace’s own courtly bard. Donations will also be accepted to further support the efforts of our valiant soldiers as they continue to fight. THE VICTORS WE CELEBRATE, their families, and all those who take part in our peace are welcome to bask in merriment throughout the night as their just reward, for our past victories will only echo forward towards the future ever onward. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia, Karosgrad, and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, Lady of the Westfolk, et cetera. Firress, DEIA, Artist of the Esrova Court, Handmaiden of the Queen Firress, ESMERAY LUCERAN, Lauzya of the Esrova Court, Royal Scribe

✧──────────────⊱🜂⊰──────────────✧ HONOURING THE BROTHERHOOD OF SAINT KARL IN COLLABORATION WITH THE HOLY HEARTS FOUNDATION. ISSUED BY THE ON THIS 19TH DAY OF WZUVAR AG BYVCA OF 506 E.S. ✧──────────────⊱🜂⊰──────────────✧ AS THE WINDS OF WAR GATHER, the realms of the Kingdom and its covenanted nations have determined to suffer no poverty among the soldiers who so valorously underpin their safety. Accordingly, under the gracious patronage of Queen Amaya of Venzia, a beneficent gala has been arranged for the welfare of Hanseti-Ruska’s gallant winter-hardened forces. ALL DWELLERS OF THE KINGDOM and its stalwart allies are welcomed to the august halls of the Esrova Palace for the event, from which the proceeds of food and refreshments will be directed to the Crown for the war effort and the benefit of the Kingdom’s champions. Attendees will be welcome to partake in the jubilant wassail and cheer of an evening of dance and feasting, firm in knowing that they gather in righteous assemblance for a just and steady purpose. GENEROUS GIVERS ARE WELCOME to impart gifts of greater scale, reassured in the understanding that every benefaction will be to the aid of valiant soldiers steadfast in a lofty cause. Mina, materiel and other contributions will be gratefully accepted as the Kingdom prepares its march to absolute victory against the enemies of peace and justice. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera. Firr AITHWIN ALDOR, Royal Scribe of the Esrova Court.

✧──────────────⊱🜂⊰──────────────✧ A COMPOSITION PAINTED BY FIRRESS DEIA. ISSUED BY THE ON THIS 18th DAY OF JOMA AG UMUND OF 505 E.S. ✧──────────────⊱🜂⊰──────────────✧ “IN THE MIDST OF CHAOS and strife, it is a lady's light that reminds us of the peaceful times we fight to reclaim. Though she may mourn what was lost, Lady Theodosya has persevered and in doing so, has become a symbol of grace and piety in strife.” – FIRRESS DEIA, PAINTER OF THE METTLE OF AMADOR In a display of artistic homage, the Esrova Court takes immense pride in introducing the composition "The Mettle of Amador." This exceptional creation, painted by the hand of Firress Deia, a handmaiden of the Queen and distinguished court painter within the esteemed Office of the Arts, draws its inspiration from the indomitable spirit and fortitude of Lady Theodosya Amador. Capturing a pivotal moment of resilience, the painting immortalizes Lady Amador in the aftermath of a harrowing assault by the treacherous bandits of the Heartlands. Through the skilled strokes of Deia's brush, the canvas comes alive with the echoes of Lady Amador's tenacity, each stroke portraying her defiance against adversity - a value that resonates with the people of the Kingdom. Firress Deia, with an artist's eye and a servant's heart, has managed to encapsulate the very essence of Lady Amador's spirit, transforming a moment of vulnerability into an enduring symbol of resilience. In presenting "The Mettle of Amador," both the Queen and the dedicated painter, Firress Deia, wish to express a collective aspiration that transcends the boundaries of this canvas. It is their fervent desire that this painting will serve as a beacon of hope amidst the turbulent seas of war and strife. Between the brushstrokes, there lies a promise - that even in the darkest of times, the human spirit can emerge unbroken, ready to face whatever challenges the tumultuous tides of fate may bring. May this piece inspire courage, kindle hope, and resonate with the hearts of all who behold it. ✧──────────────⊱🜂⊰──────────────✧ Firress, DEIA Artist of the Esrova Court, Handmaiden of the Queen Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia, Karosgrad, and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera.

✧──────────────⊱🜂⊰──────────────✧ A CALL TO ARMS TO THE COURTIERS OF THE ESROVA PRIKAZ COURT ISSUED BY THE ON THIS 11TH DAY OF JOMA AG UMUND OF 505 E.S. ✧──────────────⊱🜂⊰──────────────✧ IN THESE TUMULTUOUS TIMES of war, it is the duty of every citizen to take up arms and aid their Kingdom- whether it be on the frontlines with a sword, or upon the homefront with a quill. The Esrova Court is no different; its courtiers shall support the Kingdom in the war effort against the treacherous Veletzians, for their crimes against Canondom cannot go unpunished. IT IS BY THE will of Queen Amaya of Venzia that all courtiers shall assist in the ongoing war effort to ensure that the strength of the Kingdom is bolstered. Thus, it is decreed that Her Majesty’s council shall endeavor to host charity events to raise funding for the war, and will sponsor the creation of art to boost Haeseni morale. Additionally, the maintenance of Haeseni culture and identity will persist, even in the face of war. The indomitable Haeseni spirit, too, shall be kindled akin to a lively hearth during the harshest of winters. FOR THE COURTIERS WHO are courageous enough to take up the sword, but have not enlisted in the Brotherhood, they are encouraged to do so posthaste. However, the courtiers who aspire to fight for the Kingdom without enlisting are still welcome to do so; much like the regiments of brave and noble women who first brought up arms and fought alongside their male counterparts in the Urguani-Orenian War, and again in the Successor’s War, the courtiers shall once again make their appearances upon the battlefield donning the pink capes of yore witnessed in previous Haeseni victories. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera Her Excellency, MARIAN BLACKWOOD-WEISS, Viscountess-Consort of Novkursain, Baroness-Consort of Zvaerauld, Lady of Staalgrav, Grand Lady of Hanseti-Ruska Her Ladyship, LIRIDONA INGRID AMADOR, Palace Custodian of Hanseti-Ruska Firress ROSALIND LAURELIE VALKONEN, Lady Chamberlain of Hanseti-Ruska, Squire of the Order of the Crow Her Ladyship, ANABEL ELIA COLBORN Countess-Emerita of Malkovya, Keeper of the Book, Lady Auditor of the Royal Duma, and Secretary of the Esrova Courts

✧──────────────⊱🜂⊰──────────────✧ A COLUMN ON THE OCCURRENCES OF THE JULIYAFEST SEASON ISSUED BY THE ON THIS 22nd DAY OF TOV AG YERMEY OF 504 E.S. ✧──────────────⊱🜂⊰──────────────✧ THE JULIYAFEST, WHICH OCCURRED just one year ago, has emerged as a living testament to the unbreakable bonds that bind the people of our Kingdom. Amidst the lively laughter and spirited dances, the festival became a significant display of Haeseni unity, a manifestation of the collective strength that defines us. Friendship flourished amidst the bustling festivities. The air was filled with the warmth of camaraderie, as old acquaintances rekindled their connections and new friendships blossomed like the vibrant flowers that adorned the celebratory spaces. Yet, it was love, the beating heart of any thriving people, that Saint Juliya smiled upon during the Juliyafest. Still, the success of the festival lied in its ability to unify the Haeseni people whilst demonstrating the essence of Haeseni identity through cultural practices and colorful celebrations. ✧──────────────⊱🜂⊰──────────────✧ I Two young lovers court at the Juliyafest ball. NEW & OLD This Juliyafest season heralded a period of great change and growth in Haeseni fashion. Attendees dressed (in unprecedented numbers) in handmade couture designs, representing a vast range of cultures, histories, and senses of fashion. My personal highlight of the festival was LADY LUDVIKA LUDOVAR’s ball dress, which featured a beautifully sewn sarafan-style gown, worn without the traditional white undershirt. Instead, Lady Ludvika draped herself in an exquisite deer pelt. The style was avant-garde and completely unique, expertly displaying both Lady Ludvika’s personality and her own personal tastes. Lady Ludvika’s dress was ingenious and new in design, displaying the bright and creative future of Haeseni fashion. On the opposite end of the fashion spectrum, and of fashion history, KOENAS AMAYA OF VENZIA arrived at the ball in a traditional Haeseni court gown of white silk, draped with a purple velvet cloak. It was a gown absolutely befitting of a queen, featuring the narrow waist and broad open neckline of early Haeseni fashions. The effortless elegance, beautiful fabric, and precise tailoring cemented this gown as one for the ages. And for me, at least, it provided a new source of inspiration towards the future of the Haeseni wardrobe. A FESTIVAL OF COLOR One of my own personal passions (and an upcoming project of mine, stay tuned!) is to restore color to the Haeseni wardrobe. There was once a day where the men and women of Haense wore bright greens and reds, yellows, blues, and violets. Color abounded. In our modern day, many Haeseni prefer more dour, conservative fashions. I have noted, however, a distinct uptick of colorful dress, especially at this year’s Juliyafest. My personal favorite example was LADY MIKHAILA VAS RUTHERN’s cherry-red ballgown. The gold detailing combined wonderfully with the glittering red silk of the dress, and made her an absolute belle of the ball, in the eyes of this seamstress. The cut of her dress was inventive too, displaying not only good taste in color, but also an eye for diverse and unique fashions. Red was an especially common (and welcome) hue at the Juliyafest ball, and one that suits the Haeseni people well, hearty and warm in its nature. HOPE FOR THE FUTURE It is my utmost wish that these themes continue to prevail in Haeseni fashion; that the Haeseni people continue to innovate with their ideas, drawing from new and old, and that the red flush of mirth rises to the sallow cheeks of the Haeseni populace once more. Let it be so! – GALINA GODUNOV ✧⊱🜂⊰✧ II Throughout the Saint’s week, the festival’s attendees prospered with success. At the inaugural ball, couples were seen partaking in the traditional dances1 of our beloved Kingdom. However, one couple stood out the most, glowing radiantly as they traversed each step of their practiced routine. The duo named the Prides of Paradisus, friends GALINA GODUNOV and LEONID D’ARKENT KORTREVICH displayed the most practiced and jubilant steps on the ballroom floor; most distinctively, they danced the cultural Haeseni Pulvika (half-step) that gained the Queen’s favor. All in attendance would agree - this pair was the best duo of dancers. The third eve of festivities began with a paired hunt. The pairs - consisting of couples, friends, and family members - were led into the woods by the esteemed Master of the Hunt, SER MIKHAIL VALKONEN. With one partner blindfolded and equipped with a crossbow, the other partner led the pair through the woods. The hunt yielded three roe and one brown bear - all participants of the hunt successfully contributed to the yield. The Reznian Hunt was followed by an eve of jousting and melee fighting - the Reznian Tourney. Although many came close to victory, only two competitors reigned superior. Emerging victorious, GAREN BARUCH won the jousting tourney, and DAGFINN won the melee. The duo demonstrated impressive militaristic prowess that certainly made them shine upon the third day of the Juliyafest. – ESMERAY LUCERAN 1] For additional reading on the cultural dances of the Haeseni, see Haeseni Customs Vol II. [Link] ✧⊱🜂⊰✧ III The success of Juliyafest has left our noble realm basking in the glow of newfound love and promising unions. The air still carries the echoes of celebration, with the joyous matrimony of some and the blossoming courtships of others becoming the heartwarming tales that now weave the fabric of our shared futures. Saint Juliya surely smiles upon these young couples, as the Valdevic Rite of Adulthood - the Holy Juliyafest, has proven to be a catalyst for enduring connections. As I reflect on the multitude of courtships and marriages that have sprouted from the festival, it warms my heart to see Saint Juliya's benevolent influence at work. These couples caught my eye during the celebrations, and I beseech every reader to pray for their happy and fruitful unions. PRINCESS EMMA BARBANOV AND HENRIK AMADOR My cherished daughter, Emma Anastasya, found happiness in the company of Henrik Amador as their courtship commenced during Juliyafest. The radiance of Emma's happiness with her intended was evident, and I can only hope that their love blossoms further - with her parents’ approval, of course. PRINCE IVAN BARBANOV AND NATALIYA MOROVAR Then there is Ivan Aleksandr, my beloved son, and his future Queen, Nataliya Morovar. Their impending wedding, set to unfold in the coming years, fills my heart with pride. Nataliya especially looked captivating at the ball in her pink gown, and it was a refreshing sight to behold them both during the celebrations. ROSALIND AND MIKHAIL VALKONEN My beloved Court Chamberlain, Rosalind Weiss has found her match, Ser Mikhail Valkonen. Engaged during the Juliyafest, their love blossomed and flourished, culminating in a beautiful union that occurred just this Saint’s Day. Rosalind, with her grace and strength, and Mikhail, a valiant Knight and my own Master of the Hunt, have grown into a couple that fills me with pride. DIMITRI KORTREVICH AND LILLIAN VON THEONUS Dimitri Kortrevich and Lillian von Theonus were seen together during the celebrations, presumably in the early stages of courtship. The youthful pair appeared sweet, their connection a promising highlight of the Juliyafest. It warmed my heart to see them together, and I pray their union shall last for years to come. LUDVIKA LUDOVAR AND LEONID KORTREVICH Ludvika Ludovar and Leonid Kortrevich surprised us all with their engagement, which was officialized shortly after the end of the Juliyafest. However, their shared talent for writing promises an intellectually rich partnership that I pray will bring them both prosperity and happiness. IRENA KORTREVICH AND GABRIEL AMADOR Gabriel Amador and Irena Kortrevich chose the Juliyafest as the backdrop for their wedding. Irena, resplendent in her Rus-styled gown, and Gabriel, donning a matching suit woven of gold and white thread, made for a stunning couple, and their union was a sight to behold. AURELIA STROHEIM AND VIKTOR WEISS Lastly, it delights me to announce the wedding of Aurelia Stroheim and Viktor Weiss, scheduled to occur this upcoming year. Witnessing the King's approval of their union brought me great joy, and I look forward to celebrating their union in the near future. – AMAYA OF VENZIA ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia, Karosgrad, and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera. Her Ladyship, GALINA GEORGINA ALYOVNA GODUNOV, Master of G.O.A.T.s, Head Designer for the Haeseni Ledi Company, President of the Holy Hearts Foundation, Mistress of the Esrova Wardrobe, The Pride of Paradisus. Firress, ESMERAY LUCERAN, Royal Scribe of the Esrova Court.

✧──────────────✧⊱✧⊰✧──────────────✧ THE ROYAL RECIPE OF HANSETI-RUSKA ISSUED BY THE ON THIS 15TH DAY OF JULA AG PIOV OF 504 E.S. ✧──────────────✧⊱✧⊰✧──────────────✧ AS THE CHILL OF the night settles in and frosty winds whisper through the Haeseni landscape, there's nothing quite like a steaming cup of the cocoa made with goat milk to ward off the winter cold. Drawing inspiration from the rich traditions of my own Scyfling roots, this warming elixir promises to envelop all in the comforting embrace of warmth and flavor alike! Renowned across the Kingdom, the cinnamon cocoa beverage has become a cherished tradition during the Long Winter, savored in moments of respite and revelry alike. Thus, I present to you, the Haeseni people, the very special recipe I’ve perfected over the years - formally dubbed the Queen’s Cocoa. INGREDIENTS ✽ 2 cups Scyfling goat milk ✽ 2 tablespoons unsweetened cocoa powder ✽ 2-3 tablespoons granulated sugar ✽ 1/4 teaspoon ground cinnamon ✽ 1/4 teaspoon vanilla extract ✽ Pinch of salt ✽ Whipped cream (optional, for serving) ✽ Ground cinnamon and marshmallows for garnish INSTRUCTIONS: I. PREPARE THE COCOA BASE ✽ Mix the cocoa powder with a small amount of goat milk to create a smooth paste. ✽ Heat the goat milk in a saucepan over medium heat until warm, stirring frequently. II. COMBINE INGREDIENTS ✽ Once the goat milk is warm, add the cocoa paste, granulated sugar, ground cinnamon, vanilla extract, and a pinch of salt. Whisk the mixture continuously to ensure even blending. III. SIMMER AND STIR ✽ Simmer the cocoa mixture over low to medium heat, stirring constantly until it reaches your desired temperature. Avoid boiling to prevent the burning of the cocoa base (Burnt chocolate smells quite foul). IV. MAKE ADJUSTMENTS IF NECESSARY ✽ Taste the hot cocoa and adjust the sweetness or cinnamon level according to your liking, taking into account the unique qualities of goat milk. Goat milk has a thicker consistency, and thus it is advised to always taste your cocoa before it is served. V. SERVING ✽ Pour the hot cocoa into any mug of your choosing. Top it with whipped cream and a sprinkle of ground cinnamon for extra flavor. It is of the utmost importance that you do not forget the marshmallows.

✧──────────────⊱🜂⊰──────────────✧ HAESENI CUSTOMS - VOL III CELEBRATIONS OBSERVED BY THE HAESENI PEOPLE ISSUED BY THE ON THIS 8TH DAY OF MSITZA AG DARGUND OF 503 E.S. ✧──────────────⊱🜂⊰──────────────✧ FOR CENTURES, THE HAESENI people have woven the threads of their existence with an impenetrable connection to their spirituality, intertwining seamlessly with the natural world that cradles their homeland. From the beginning, their connection to the sacred tenets of the Canonist religion has served as a guiding compass, echoing through the valleys and peaks, whispering in the rustling leaves, and echoing in the rhythmic dance of seasonal equinoxes and solstices. The heartbeat of Hanseti-Ruska pulses in sacred harmony with the rhythms of nature and their histories are ingrained within the very soil beneath our feet. It is in this intricate dance with the divine and the tangible that the Haeseni find the true essence of their cultural identity. During the reign of Queen Amaya of Venzia, these timeless values have since been reignited, and historical holidays of yore have emerged as modern celebrations, each a vibrant reflection of their spiritual ethos and a symbol of the enduring Haeseni legacy. The Queen has sought to not only safeguard the cultural flame but fuel its resurgence in an effort to highlight the traditions that bind the Haeseni people to their rich origins. Through the faithful academic work led by Queen-Consort Amaya of Venzia and Firress Adela Taronitissa de Leuven, whose studies into the origins and traditions of celebrated holidays - under the thorough editor’s purview of Court Secretary Anabel Elia Colborn - a compilation of Haeseni Holidays was made possible for publication within Volume III of Haeseni Customs. ✧──────────────⊱🜂⊰──────────────✧ I NIKIRALA JAKKO: THE FEAST DAY OF ST. TOBIAS - TUVMAS JAKKO IS A TRADITIONAL holiday that commemorates the forthcoming winter solstice and the Tuvmas season. During this period, the people of the Kingdom partake in particular festivities dedicated to Saint Tobias, otherwise known as Saint Tuvya to the Haeseni. These celebrations typically entail a grand feast, a play, the lighting of the Tuvmas tree, and a market festival held in the heart of the town square. Historically, the holiday was observed solemnly, however it has adopted the customs of the Heartlanders' Saint Tobias's Day in recent times, wherein the citizens of the realm partake in gift-giving and acts of kindness. Jakko, the Highlandic iteration of the celebration, similarly honors St. Tobias; the Saint of merchants, comets, wealth, and charity. Regarded for his spiritual and moral awakening upon reaching the peak of his affluence, St. Tobias is often remembered in honour of his charitable acts performed as a credit to his wealth - the tale retells Tobias giving a poor Haenseman his own meal, and it is these feelings of kindred warmth that resonate throughout the merry season.1 MEADENFEST THIS HOLIDAY OF SCYFLING custom originates from the coastal villages where peasants indulge in a day of playful exuberance and drinking sweet meads. It is common for a plethora of games to be hosted during the said fest, with the primary attraction being the game of ‘Knight on the Castle’, where a four-sided pillar is arranged with protruding hang offs, participants of the game having to try and remain on the top of the ‘castle’ as to be declared the rightful Knight of it. Other activities include but are not limited to: Haeseni Chess, comedy shows, jester acts, drinking games, and charades. SIGISMUND’S DAY SIGISMUND’S DAY IS A national holiday observed by all Haeseni to celebrate the patron of Hanseti-Ruska, the Exalted Sigismund. Every year that passes in the Kingdom’s calendar marks another year since his ascension to the Skies; thus, this celebration usually takes place at the beginning of every new year during the peak of winter.2 During this day, it is tradition for all members of the Karovic household to feast in the halls of the current Karovic Patriarch. Common foods observed during this feast include veal, iskov, and restineol.3 PRAZEKHAG - ANCESTOR’S DAY A CELEBRATION DEVOTED TO the plethora of Haeseni ancestors and late kin, Prazekhag is designed to honor the many notable founders and figures within historic households. Although families of any ranking status are invited to celebrate this righteous tradition, it is most famous among the noble households of Hanseti-Ruska. The primary practices during this commemoration involve the construction of a giant altar in front of the capital’s cathedral, whereupon families are allowed to leave blessings and tokens to not only their familial ancestors, but past Haeseni figures also. Following that, a few words might be spoken about the greatness of one's household, acting as an open session to pridefully boast about one's lineage and origins, and finally the main procession by the namesake of the “Rogwyk i ve Zesgan” (Common: Walk of the Past) wherein a parade of women; of noble and common origin, don veils woven with intricately embroidered scenes of their Household and ancestry and process to the Haeseni Basilica. The parade commences with a prayer, upon which the line of women make their way to the capital’s Basilica. At the conclusion of the parade, mass is conducted with the intention of honoring the ancestors and founders of Haeseni households and, by extension, the Kingdom of Hanseti-Ruska as a whole. WIEROKZINATT - SOOTHSAYERS’ EVE A RAEV TRADITION ORIGINATING from the isolated circles of soothsayers living in the Kingdom of Hanseti-Ruska, the Wierokzinatt consists of a night of enthrallment and mysticism, filled with readings from soothsayers and the sale of blessed jewelry - usually crafted with sapphires of varying colors as these particular gemstones are believed to bring mystical closeness to GOD. The Haeseni Oracle will meditate quietly, in order to receive and foretell a prophecy of grandeur at the peak of the celebration. Star-gazing is a distinctive activity during this celebration, as participants will try to read the stars and constellations pertaining to their zodiacs with the assistance of lesser soothsayers and astrologers. Upon this eve, prayers to Godan are offered in thanks for the clarity of the cosmos. The Soothsayers’ Eve occurs on the darkest night of the year when the stars shine the brightest, and it is believed that the spirits of loved ones - as well as the path of one’s future - lie amongst the stars. 1] Vzeslaw Graiswald, Cetibor the Tarcharman, year unnoted: Sigmundic Canonism. [Link] 2] Hieromar the Elder, year unnoted: Festival of Wiekley Sigmundi. [Link] 3] Hieromar the Elder, year unnoted: Haeseni People. [Link] ✧⊱🜂⊰✧ II MORRIVI JULIYAFEST JULIYAFEST, NAMED FOR SAINT Juliya, is a beloved holiday held in commemoration of courtships, matrimony, and maturation. Although it is typically observed at the beginning of Spring when new love is expected to bloom as the winter defrosts, the Juliyafest may be hosted at any time during the Saint’s year. However, the most recent iteration of Juliyafest symbolizes a significant rite of maturation as the Haeseni youth ascend to adulthood, and thus the celebration spanned several Saint’s Days.1 Many have been known to wed their betrothed or beg their beloved’s head of house for permission for courtship on this day. Furthermore, the presentation of a crown of lilies, known as Liliekongis, can be expected to be received as a romantic gesture from a Haenseman to his romantic interest. The more fortunate and hopeful can look forward to being gifted a belt woven of ivy and twine, the Verevka Belt, blessed by a priest in order to ask for their hand in marriage 1 JORSKDAG JORKSDAG, OR JOREN’S DAY, is a Scyfling holiday that celebrates the first encounter between St. Joren and St. Tara. Today, it is widely believed that this encounter beckoned Spring to bloom. Flowers sprouted, spanning across luscious, verdant fields as far as the eye could see. In accordance with this miraculous event, the Scyflings of Hanseti-Ruska partake in the jovial celebration of Jorskdag to commemorate the coming Spring equinox every Saint’s year. RORTDEY: THE FEAST DAY OF ST. AMYAS THE OBSERVANCE OF RORTDEY signifies the coming of Spring and celebrates St. Amyas, the Patron Saint of medicine, healing, botany, and wild herbs. It is said that the coming of Spring symbolizes Godan’s healing of the Winter’s blight, akin to the healing that St. Amyas performed in life. Oftentimes, the feast day will include a Scyfling Maypole dance and a forage in the woodlands to supplement the subsequent feast. 1 VALBORGIS NATT VALBORGIS NATT IS A springtime celebration observed by ancient Scyfling tribes that has since resurfaced as a national Haeseni holiday. The festival includes field cleanups in preparation for the blooming spring and a plethora of traditional Haeseni dances and religious songs performed around a large bonfire. The holiday is rooted in a Highlandic myth about the zealous Scyfling Princess Valborga of Slesvik, who devoted her life to the Church. For years, she renounced her wealth to aid the less fortunate and cared for the surrounding farmland so that the peasantry would always have adequate access to food. In honor of Princess Valborga, this holiday commemorates the approaching spring and the preparation of gardens that flourished under her care. 1] Vzeslaw Graiswald, Cetibor the Tarcharman, year unnoted: Sigmundic Canonism. [Link] ✧⊱🜂⊰✧ III ASSERALA MIDSOMMAR MIDSOMMAR IS A HAESENI holiday that marks the longest day of the Saint’s year, the Summer Solstice. The festival is deeply rooted in ancient Scyfling traditions, and is a time to celebrate the arrival of summer and the abundance of nature and wildlife the season brings. Key traditions of the Midsommar celebrations include the cultural Maypole Dance, wherein the attendees of the festival weave ribbons and greenery about the Maypole, the lighting of the ceremonial bonfire, and flower-wreath crafting. Traditional Scyfling foods such as the Lohikeitto (salmon stew) and Settekake bread are served over the bonfire as the evening of merriment ensues. JROTHIK: THE FEAST DAY OF ST. JOREN AND ST. TARA AFTER THE TRAGIC FALL of Hanseh, the capital of Saint Joren’s realm, Saint Tara fled with her court to the banks of an isolated river whereupon they settled and named it Jroth. There, she and the members of her court gathered materials from the earth to indulge in a feast to honor the fallen capital in silence. It is this feast of mirth during the period dubbed the Age of Silence that many partake in on Jrothik. The very first iteration of Jrothik occurred during the summertime, and thus the Haeseni continue to observe this holiday during the peak of summer. 1 OKJANEK I MILDULF - HUNT OF MILDULF THE HUNT OF MILDULF is a Haeseni holiday inspired by the Dulonian mythological figure, Mildulf, the Wereboar who was rumored to be a cursed Prince that roams the icy forests.2 Various iterations of the tale claim that Mildulf was turned into a grotesque boar beast by a witch, which led the surrounding villagers to frequently pursue the beast on dangerous hunts. Remnants of this ritual practiced by the ancient Hanso-Raev people are observed by modern Haeseni to this day, albeit Canonized in recent years. During this celebratory hunt, a ceremonious bonfire is lit by a priest, with hunters and warriors alike kneeling before the flames in prayer to bless their hunts. Upon being sent out into the forests, hunters and warriors alike are encouraged to hunt grand beasts to bring back as trophies. These prizes are tossed into the blessed bonfire as an offering to the Exalted Sigismund to keep the Wereboar and other associated creatures at bay. The aftermath of the hunt is usually spent at a smaller feast or tavern to discuss the adventures and might of their hunt. ANNIZHAG - WINE DAY ORIGINALLY HOSTED AS A sign of victory during the prosperous era of Karosgrad by the late Amadea of Susa, Annizhag has turned into a seasonal celebration with associated symbolism of grand welfare for the Kingdom, but also, by extension, an honored holiday for the late Karl III due to his love of cheese. The events hosted on this one-day celebration are very flexible to whomever hosts, but will always showcase a plethora of cheeses and wines for consumption. It is usually encouraged, as done traditionally, for each noble household to bring one cheese and one wine selection for the entirety of Haense’ citizenship to enjoy, as well as a panel of judges to determine who has brought the best produce of the two - although this competition is not limited to nobles only, as commoners may also participate.3 1] Vzeslaw Graiswald, Cetibor the Tarcharman, year unnoted: Sigmundic Canonism. [Link] 2] Otto the Tarcharman, year unnoted: Haeseni Mythologie. [Link] 3] Amadea of Susa, Maeve Morovar, 434: Festival of Wine & Cheese. [Link] ✧⊱🜂⊰✧ IV KHOVALA KHOVALAFEST - AUTUMN FESTIVAL KHOVALAFEST IS CELEBRATED IN the Kingdom of Hanseti-Ruska to commemorate the Autumnal Equinox. This momentous occasion signifies the changing of seasons and the peak of the harvest. The festival recognizes the diligent work of the kingdom's farmers and laborers as they witness the transition from the vibrant green of summer to the warm hues of gold and red indicative of Haeseni autumn. The mythological figure, Gorm, a mysterious three-eyed crow, is historically associated with the symbolism of the autumn harvest. Ancient Haeseni peoples believed that Gorm was connected to the land and he is invoked for a plentiful growing season. Additionally, the festival pays homage to St. Henrik, a venerable Canonist figure revered amongst the Haeseni for making a barren wheatfield flourish. The holiday was established by Queen Amaya of Venzia in the year 495 E.S. and is still observed today. BAROVIFEST - BARBOV’S FESTIVAL BAROVIFEST STEMS FROM A holiday known as the Haruhtrozdyg, where the ancient Haeseni peoples partook in revelry, unimpeded by social castes or societal expectations. However, the Karovic Monarch, King Barbov, later imposed a law that banned the beloved holiday due to its significant origins and influence rooted in paganism. The peasants and serfs of the land heavily protested this law, which led to an unusual display of compromise from the zealous King Barbov. He would allow their festival to continue, on the condition that all references and symbols of paganism were removed from the celebrations. Over time, it transformed into what the Haeseni know today as the Barovifest, named after King Barbov the Black. The celebration came to be sponsored by the Carrion dynasty, with varying traditions and practices evolving over the centuries.1 The festival’s traditions include Ve Hauchwundarbuyr (The Great Boar Hunt), categorised by traditions wherein noblemen compete to bring back boar for the peasantry, the carving of wooden masks called Maskoez that depict animals or historical figures, and the crafting of flower crowns known as Crowns of Chamomile made to symbolize romantic love between festival attendees. A play performed by serfs and royalty marks the beginning of the festivities, symbolizing the unity of Haeseni peoples regardless of status or station.1 The Barovifest also features archery contests (Tiberala), melees (Bratkontat), and a jovial food fight dubbed the Harutopolta. The evening concludes with a ceremonial feast and a drinking competition, while a wooden effigy of a horse is burned to symbolize the Exalted Owyn's steed. The day after Barovifest, known as Barovimuesz or the Feast of All Souls' Eve, is a holy day of obligation for all Haeseni Canonists. Families pray for their departed loved ones, and the reigning monarchs take in the less fortunate to receive food, new clothes, and forgiveness for debts and crimes.1 ALL HALLOW’S EVE VARIOUS HAESENI SUPERSITIONS AND legends state that the veil between the mortal and spiritual realms thins at the height of Autumn.2 One legend stated that this veil shall fall upon the darkest night of Autumn, which often invoked a sense of paranoia in the ancient peoples; thus, they carved masks to protect their identities from any lingering spirits. In accordance with this superstition, the modern citizenry partake in the holiday lovingly dubbed All Hallow’s Eve by carving faces into pumpkins and donning frightening costumes to keep any malevolent or wandering spirits at bay. Prayers to Godani for protection and guidance on this eve are common, and oftentimes Mass will be held the night prior. HAESENI INDEPENDENCE DAY FOR MANY YEARS, HANSETI-RUSKA stood as a vassal beneath the Holy Orenian Empire. Its status as a Kingdom, granted by the Empire, was first held by King Petyr I, and such vassalage would remain until King Josef I’s reign, when the Edict of Separation was officially issued by Empress Anne I on the 11th of the Amber Cold, 1786. The anniversary of Haeseni independence has since been celebrated every Saint’s year following that fateful eve. The holiday comprises two months of celebration: the first month is known as 'The Revelry of Crows’, which includes historical exhibits, trivia, traditional Haeseni dishes, a Carrion Black drinking contest, and a parade to showcase Haeseni pride.3 The second month of festivities, 'The Eve of Memorium', is a solemn event that allows the Haeseni people to pay respects to the departed. Participants, dressed in historical attire, perform the 'Last Drink of Death' ritual; pouring half of their drink on the floor to symbolize remembrance.4 A prayer is offered for the departed, followed by traditional Haeseni dances, fostering a night of merriment and pride. JAKZHAG - YAK’S DAY JAKZHAG IS AN EVENT which spans a single day, fit for any mighty warrior of Hanseti-Ruska. With origins rooted in Kralta from the era of Anthos, this celebration spread through smaller Raevir communities and shifted over time from an atypical Harvest Festival to a display of militaristic prowess and fierce combative skill. A variety of events are hosted throughout the day to test such strengths, including but not limited to; wrestling, sparring, jousts, fist fights, and other sports. The unique and definitive aspect of this event is the usage of the ancient animal, the yak. All prizes from the event are usually centered around the beast, as well as the food served throughout the festivities. Historical records reveal that the primary Kraltan cuisine served on Jakzhag includes Yak on a Stick, Yak on a Bun, Yak on a Yak, Kralta Fried Chicken, and Yak-y Booze.5 1] Otto the Tarcharman, year unnoted: Barovifest, the Day of Serfs or the Day of All Souls. [Link] 2] Sigismund III, year unnoted: Seasons of Haense. [Link] 3] Isabel of Valwyck, 339: The Crow’s Independence Revelry. [Link] 4] Hieromar the Elder, year unnoted: Haeseni People. [Link] 5] Author and year unnoted: Kraltan Harvest Festival. [Link] ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia, Karosgrad, and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera. Firress, ADELA TARONITISSA DE LEUVEN, Matriarch de Leuven, Royal Scribe of the Esrova Court, and Court Historian Her Ladyship, ANABEL ELIA COLBORN Countess-Emerita of Malkovya, Keeper of the Book, Lady Auditor of the Royal Duma, and Secretary of the Esrova Courts.

✧──────────────⊱🜂⊰──────────────✧ VOLUME II CULTURAL DANCES PERFORMED BY THE HAESENI ISSUED BY THE ON THIS 8TH DAY OF GRONA AG DROBA OF 502 E.S. ✧──────────────⊱🜂⊰──────────────✧ DANCE IN HANSETI-RUSKA has been an ever-present piece of its culture dating back to ancient times. It is thought that, by dancing, one expresses the truest part of themselves; once our emotions are too potent to be contained, we dance. All Haeseni people of different cultural backgrounds have developed their own distinct styles of dance, with many groups developing different dances for different social situations and classes. Whether dancing for joy, faith, relief, merrymaking, even fealty to God or a liege, all dance is an enunciation of passionate emotions. Haeseni dances have been influenced by the folk rites of the Hanseti, Raev, Ayrikiv, Scyflings, and Waldenians: all cultural groups present in the Kingdom. Many dance forms originate from a single culture, with a select few being influenced by a blending of two or more cultural group practices. Unfortunately, while a plethora of varied Haeseni dances developed over the ages, they have all mostly fallen out of custom in the present day. However, succeeding the ascension of Queen-Consort Amaya of Venzia to preside over the Esrova Court, her nurturing care and encouragement have manifested a cultural renaissance - or rebirth - among Haeseni society. This rebirth of the lambent flame of culture has induced many once-lost Folk and Haeseni-variant dances to resurface and return to public consciousness. Through the faithful academic work led by Queen-Consort Amaya of Venzia, with her astute observations of the choreography of said dances, Firress Adela Taronitissa de Leuven, whose historical studies into the origins and archival data of the dances herein were crucial, and under the proficient editor’s gaze of Court Secretary Anabel Elia Colborn, a compilation of Haeseni Cultural dances - no matter whether they are extinct or presently prominent - was made possible for publication within Volume II of Haeseni Customs. ✧──────────────⊱🜂⊰──────────────✧ I THE HOPPING DANCE KNOWN FOR ITS GRAND hops and intense movements, Ve Hopaky originates from before the Kingdom of Raev, from when the Raevir people were scattered and split. The dance features high leaps and kicks, symbolizing the exuberance and vitality of those who perform the dance. Frequently, the dancers transition from high jumps to low squats in quick succession, adding an absorbing element of unpredictability to the energetic display. Rapid spins and twirls are also incorporated into the dance - primarily by women - who conjointly accompany the male aspect of the Hopping Dance via constant rhythmic clapping: dual purposed for beat, and encouraging the audience to join in with the pageant. The general footwork of the dance is intricate and syncopated; quick with precise and rapid steps, often accompanied by low kicks and spins throughout. Ve Hopaky has roots in the Raevir people, prior to the Elk Wars and the unification of all Raev men, when most were in smaller peasant villages or roaming cossacks; in the period during which, having conquered new lands or combatted attempted invasion, Raevir men broke out into a frenzied dance of acrobatic skill, hopping in sporadic and unstructured dance. When unified under St. Karl, the first King of the Raev, the tradition continued as displays of accomplishment and celebration. During the reign of Boris II, King of Raev, and his consort Alicia Therving, women’s involvement in the dance grew, allowing for the Hopping Dance to transform from a simple display of militaristic triumph to a historic folk dance representing skillful expertise and the Northern soul. ✧⊱🜂⊰✧ II THE SWORD DANCE VE ZVAERDANS IS CREDITED as the most dangerous dance of the Haeseni people. There are a variety of ways to perform the dance, but they always consist of three major factors: usage of at least two swords and round shield, beginning the dance in the pas de basque position around quarters of crossed swords, and a heroic gambol involving swordplay. The dance opens with a three-step prance around crossed swords - each dancer having either free hands or a circular shield - that eventually progresses as each dancer lifts a blade from the ground and begins a dramatic and grandiose mock duel with tricks of the hand: swirling swords at considerable speed, throwing the swords in the air prior to catching them, and sometimes setting the blade itself aflame. The Sword Dance is typically performed by soldiers after training or major victories, by bards to describe heroic battles of yore, or before the monarchs as a form of grand entertainment. Originally a combination of two historical dances, the Zvaerdans requires acrobatic skill and swordsmanship. Influenced by both Raevir and Ayrikiv cultural practices, the spirit of the dance remains similar in its Northern origins, however, the primary methodologies vary. The tradition of dancing within the four-quarters of crossed swords originated from Ayrikiv soldiers who would dance prior to battle to symbolize and inspire bravery, often encouraging fellow militants to join them in possibly their final moments of joviality before being sent off to fight. The Raevir roots of the dance, derived from an inherent obsession with honor and duels, is defined by fantastical displays of skill in song and dance accompanying bardic lyrics of heroic venture. It is uncertain when the two forms merged, but the unfathomable skill and bravery needed for handling swords in its modern incarnation is often greatly appraised. ✧⊱🜂⊰✧ III THE HAESENI BALLET VE TARANYEK HAENZI IS a stunning social dance for the purposes of entertainment. Originally an extension of Orenian ballet - regarded for having more delicate footwork, dramatic movement, heavy themes of tragedy and deeper concepts of morality - Haeseni Ballet is often noted for its grueling discipline and the painful sacrifices made by the many ballerinas who study the dance professionally. Some noted and famed ballerinas of the variant were: founder Baroness Elia Eryka Colborn-Stafyr, Princess Royal Analiesa Josefina Barbanov-Bihar, Countess-Consort Viorica Irena Kortrevich, and Count Mativy Kortrevich. Originating from the Aeldinic Kingdom of Banardia, Ballet was a major influence imported to the realm of Almaris - into the heart of Providence during the reign of Empress Anne I. Following the establishment of the foreign dance into the Imperial Courts, a plethora of companies and entities rose to carry on the tradition of educating humanity in the cultural dance: Rochefort School of Music, Bluestockings Society, the Augustine Court, and the Carrington Ballet Company. The late Amadea of Susa, being of Orenian pedigree, brought the dance to the Haense courts, where it was quickly popularized by a variety of courtiers. Baroness Elia Eryka Colborn-Stafyr, inspired by the dance she studied during her brief wardship under Lady Mathilde von Pruessens, was a key figure in the development of the Northern Ballet style throughout the years. ✧⊱🜂⊰✧ IV THE CARRION DANCE AKIN TO HAESENI BALLET, Ve Karodans is a social dance, typically performed for higher nobility and royalty as a form of entertainment. However, a bastardized variant can often be seen in taverns; with drunkards trying to balance bottles of Carrion Black atop their ahead as they feverishly prance around. The movements in the Carrion dance are rather precise, distinguished by slow and gradual motions within the build-up contrasted against intense action involving acrobatic twists or a fusion of the Hopaky in a slower, steadier motion. Often, in grand professional performances, the dancer is accompanied by a company dancing in a circle, causing the display to be jovial and therefore regularly requested at the events of peerage as a form of entertainment. The Carrion dance is often seen at banquets, feasts, weddings, debuts, and baptisms. During the reign of Marius II, the tavern culture pivotally changed following the establishment of the Helburke by Lord Helton Helvets and Count Conrad Ashford de Falstaff. With the whispers of the War of the Two Emperors on the horizon - grander settings and lounging becoming a famed aspect in daily life - most inn-keepers were trying their best to maintain a sense of luxury in both scene and drinks. Eventually, whether inspired by their ancestral dances or their drunken haziness, the bastardized variant of Ve Karodans was born - named after the drink it was typically performed with, in honour of Carrion Black’s popularity and the Barbanov lineage. Following the birth of the Carrion Dance, it was introduced to higher class through exposure in the taverns, becoming a choreographed form of entertainment as aforementioned. ✧⊱🜂⊰✧ V THE CHANTING CIRCLE IN THE EARLY DAYS of Haense, work and labor filled the days of hard-working peasants. With little time spare for jovial celebration, a common arrangement of dancing in the streets during points of minor celebration or much-needed break became a typical theme. Inspired by the growing population of bards, the Roziktan was founded and implemented into daily life within the Duchy of Haense, surviving through the years into the beloved Kingdom today. Ve Roziktan, derived from the New Marian verb ‘rozik’, meaning to speak or chant, directly translates to Common as “the chanting circle”. To perform the Chanting Circle, any number of individuals form clustered circles - with a few allowed to escape into the center and dance - while chanting songs or lyrics, accompanied by instruments and lighthearted jigs. Most participants enjoy forming a sung story, either of originality or tales of yore. The sporadic nature of this dance style is often performed by those of the lower classes of society, specifically in the slums, for a source of provincial joy. ✧⊱🜂⊰✧ VI THE SUN DANCE VE ASERADANS WAS DEVELOPED by Raevir nuns who danced in circles, symbolically dancing around the glory of Godani and His sun. This jovial tradition enabled them to indulge in the luxuries of dance and joy while maintaining the integrity of their sworn oaths of chastity. Over time, middle-class merchants and lesser nobility took a liking to the Canonist Sun dance, adopting a unique rendition dance for their light-hearted functions, known as the formerly mentioned Roziktan. The most significant feature of the dance is that all participants form a circle while holding one another's hands, or the little finger of their flanking partners, and constantly moves in a counterclockwise rotation. A sequence of three steps forward and one step back accompanies the group’s unyielding twirling, with the circle breaking at specific times to permit a singular dancer to slip in for a moment of companionless dancing. ✧⊱🜂⊰✧ VII THE MAYPOLE DANCE THE MAYPOLE DANCE, KNOWN in New Marian as Ve Majakdans, is an integral part of the Scyfling Midsommar celebration that heralds the coming summer equinox, albeit the dance has been observed during springtime festivals as well. The Maypole Dance did not gain notoriety until the reign of Amaya of Venzia, but the tradition has long held significance within the Scyfling House of Colborn. This dance typically involves a group of participants who gather around a Maypole - often adorned with flowers, greenery, and ribbons. To perform this dance, dancers form a circle around the Maypole, each grasping a ribbon attached to the top of the pole. The dancers traipse about the Maypole in a circular motion, weaving the colorful streamers under and over in varying patterns - typically double weaves or plaits, until the ribbons intertwine to encompass the entirety of the Maypole. Oftentimes, the Maypole Dance will adopt a competitive element during festivals, wherein dancers test their stamina around the Maypole. Dancers will continuously weave their strands about the Maypole, and the final individual standing is crowned the victor. ✧⊱🜂⊰✧ VIII THE HALF-STEP VE PULVIKA, KNOWN IN Common as “the Half-Step,” is a beloved Haeseni dance bearing distinct Waldenian influence. It is a high-spirited dance resembling the typical waltz, though it notably occurs in a 2/4 halftime tempo; hence the dance’s given name. The dance’s basic step is characterized by a distinctive galloping motion with a quick-to-slow rhythm. The leading partner initiates the step by taking a quick left footstep, followed by a quick right footstep. The third count involves a slower left footstep, often accompanied by a slight hop. The following partner mirrors these steps, creating synchronized and energetic movements. Additionally, the underscore is a key element, featuring a lively and upbeat tune with a 2/4 time signature. Dancers often incorporate small hops, kicks, and even heel clicks into their choreography, adding to the dance's playful and exuberant nature. The Half-Step developed in the Kingdom of Aesterwald: a domain accumulating profound Waldenian influences as they migrated to new lands obtained from the Order of Saint Lucien. It was there that the informal choreography of Ve Pulvika was formulated, having been inspired by the unstructured jigs that the Aesterwaldenians danced to during their jovial celebrations. Later, following the fall of Aesterwald during the Schism War, the Highlanders’ dance died out in both the Early and Late Johannian Periods - only to be revived during the Andrean Period when Waldenians began to formally return to Northern lands. Ve Pulvika found itself emerging once more with the unsanctioned renaissance of Hanso-Waldenian culture, primarily spearheaded by the Ducal House of Barclay, who breathed new life into a modernized variant of the Half-Step featuring formal choreography. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia, Karosgrad, and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, and Astfield, Lady of the Westfolk, et cetera. Firress, ADELA TARONITISSA DE LEUVEN, Matriarch de Leuven, Royal Scribe of the Esrova Court, Court Historian Her Ladyship, ANABEL ELIA COLBORN Countess-Emerita of Malkovya, Keeper of the Book, Lady Auditor of the Royal Duma, and Secretary of the Esrova Courts.

✧──────────────⊱🜂⊰──────────────✧ THE VALDEVIC RITE OF ADULTHOOD ISSUED BY THE ON THIS 10TH DAY OF TOV AG YERMEY OF 501 E.S. ✧──────────────⊱🜂⊰──────────────✧ s the youth of Hanseti-Ruska ascend to adulthood, the Queen’s Council hereby declares that a coming-of-age celebration - otherwise known as the Valdevic Rite of Maturation - shall commence in the coming year. Nestled within the Valdevic Rite of Maturation is the Holy Festival of St. Juliya. The revered St. Juliya is the Patron Saint of matrimony, which, in the instance of this celebration, has not only been interpreted as the union between man and woman but also man and country. While many of this season’s festivities are interlaced with ideas pertaining to courtships and matrimony, it is important to note that in this time of strife, Her Majesty, the Queen, wishes to promote one’s unity with their country - neighbor, companion, and paramour. This celebration shall span four Saints' days, where the devout and the mirthful alike come together to partake in its spiritual splendor. It is also worth noting that those seeking to engage in the courting events must be above the age of majority, eighteen winters - however, all are welcome to partake in the festivities of the Juliyafest. ✧──────────────⊱🜂⊰──────────────✧ I ST. JULIYA’S COMPANIONS THE FIRST DAY OF THE JULIYAFEST, known as the Celebration of St. Juliya’s Companions, will commence with the beloved game “Koeng of the Krawn." A Haeseni coin (known simply as a Krawn) is hidden within a cake and sought by the participants of the challenge. The fortunate victor is subsequently crowned Koeng or Koenas of the Krawn and shall be bestowed a scepter of ivy, twigs, and twine to wield for the day. Amidst the scenic beauty of the Prikaz gardens, a leisurely stroll will provide respite for the attendees whilst the bards enchant the audience with a series of enthralling performances. Haeseni legend states that if the apple skins are tossed over the right shoulder, the first letter of their soulmate’s name will appear. As per tradition, the age-old practice of apple peeling shall appear during the celebration. Tarot and compatibility readings, too, shall be offered by the esteemed members of the Queen’s Council during the festivities. The evening will conclude with a colorful performance of the arcane proffered by the Mistress of the Abstract to entertain the attendees of the Juliyafest. [November 8th, 5:00 pm est] ✧⊱🜂⊰✧ II THE INAUGURAL BALL UPON THE SECOND EVE of the Juliyafest, the inaugural ball will commence. This celebration shall be defined by a remarkable display of the diverse heritages comprising the cultural tapestry of the realm. Each attendee is expected to don their finest attire whilst paying homage to the culture of their familial roots. Lords and Ladies will be officially presented as they enter the ballroom, and the guest deemed the best dancer at the ball shall be dubbed the Pride of Paradisius - an honorary title of renown bestowed only by the Queen. Chiefly, the attendees of the inaugural ball are expected to showcase their familial pride on this day of the Juliyafest. Guests are encouraged to don the most significant symbolisms of their familial household - colors, sigils, and so on - within the intricacies of their attire. [November 9th, 5:30 pm est] ✧⊱🜂⊰✧ III THE REZNIAN GAMES ON THE THIRD DAY of the Juliyafest, the itinerary is brimming with enthralling activities. The day begins with an expedition into the Haeseni wilderness, wherein paired hunts shall ensue to provide friends and couples alike a collaborative hunting experience that tests not only the pair’s skills but also their trust and cooperation. [November 10th, 5:00 pm est] Succeeding the hunt, a grand tourney consisting of hand-to-hand melee and jousting shall occur upon the Haeseni tourney grounds. Here, every valiant fighter may be offered a favor, a token of one’s affection or friendship. Additionally, the winners of each event are granted the privilege of publicly dedicating their victory to the esteemed individuals of their choosing. Finally, as night peaks, the guests will engage in a lively dance upon the jousting grounds to conclude the evening on a lighthearted note. [November 10th, 6:30 pm est] ✧⊱🜂⊰✧ IV THE DAY OF UNITY THE FOURTH AND FINAL eve of the Juliyafest promises a merry celebration for all in attendance, commencing with the Day of Unity. Here, couples may engage in the Haeseni tradition of the Verevka belt crafting and bestowal, an ancient practice wherein the suitor presents a belt of gathered ivy and twine. After the proposals take place, the newly engaged couples will embark on a culinary adventure, gathering plants foraged from the farmlands to create a delectable meal with guidance provided by the Queen’s Master of the Pantry. Following the proposals, friends and family shall feast with the newly engaged couples to determine if their arduous labors bore fruit. Thereafter, attendees are ushered to the charming village square, transformed into a lively carnival ground. Here, they may indulge in a delightful array of carnival games, each designed to invoke the unifying spirit of Juliyafest. For those who prefer a more leisurely pace, the market stalls, lovingly adorned with Juliyafest motifs, offer a chance to browse and shop for unique crafts and keepsakes themed around the beloved Haeseni holiday. [November 11th, 5:00 pm est] ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia, Karosgrad, and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, Buck and Astfield, Lady of the Westfolk, et cetera.

Updated on the 20th of Vzmey ag Hyff, 514 E.S.

Updated on the 18th of Wzuvar ag Byvca, 500 E.S.

Updated on the 14th of Joma ag Umund, 499 E.S.

Updated on the 23rd day of Jula ag Piov, 499 E.S.

✧──────────────⊱🜂⊰──────────────✧ APPOINTMENT OF THE GRAND LADY, THE PALACE CUSTODIAN, & THE COURT CHAMBERLAIN ISSUED BY THE ON THIS 7TH DAY OF WZUVAR AG BYVCA OF 499 E.S. ✧──────────────⊱🜂⊰──────────────✧ In light of our beloved Grand Lord’s retirement, the tides have shifted beneath the recent winds of change. Left behind are many vacancies that require occupancy, for without these integral individuals, the Courts would fail to thrive as they do today. Thus, it pleases Her Majesty to present the newly appointed Grand Lady, Custodian, and Chamberlain of the Esrova Prikaz Court. THE GRAND LADY @CasChaos Lady Marian Weiss has shown prowess, wit, and skill during her tenure as the Palace Custodian and has served dutifully thus far within the Esrova Court. The Viscountess was all but raised in the Prikaz as a courtier – some may recall her dutiful note-takings in the early days of our Aevosian settlement – and her kindness and tireless devotion shall undoubtedly continue to serve the Courts of Hanseti-Ruska well. I am certain that the Esrova Prikaz will continue to flourish and thrive under her leadership. THE PALACE CUSTODIAN @Cheese Lady Liridona Amador has been appointed the Palace Custodian due to her continued efforts in the upkeep of the Esrova Court. The Mondstadt regent is not only a dutiful lady in the courts, but Lady Amador continuously presents due diligence in every endeavor she undertakes and a fiery devotion to protecting Haeseni tradition. I am certain she will keep the Prikaz in only the most orderly of operations and burn bright in any other pursuits she takes within the Court. THE COURT CHAMBERLAIN @CyyanTea Lady Rosalind Weiss, upon the very first day of her wardship within the Esrova Court, tossed herself into the throes of Courtly life, customs, and traditions observed by the Haeseni people. Though young, her eagerness to learn and her kindness have brought a shining light to the streets of Valdev, and her insight will be of great use within the Esrova Court. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, Thurant, Venzia and Astfield, Lady of the Westfolk, et cetera

✧──────────────⊱🜂⊰──────────────✧ FIRST COMPILED IN THE EHR SIGMUNDA 498 AT THE RIGHT HAND OF HER ROYAL MAJESTY, AMAYA OF VENZIA. ISSUED BY THE FIRST RELEASED ON THIS 5TH DAY OF WZUVAR AG BYVCA OF 499 E.S. ✧──────────────⊱🜂⊰──────────────✧ “Amaya and I first spoke of this great work over a hand-hewn table on the distant islands of Failor, where our tea came from seeds we had sown; boiled in kettles forged by our own fire; steeped in cups carved by our own hand. We dreamed, then, when we had both so little and so much, of palaces and courts; of gold and steel; of a land where, no matter how distant its horizon, our people would always know their roots as well as they knew the breath in the lungs and the fire in their hearths. Proudly we now present the Compendium: a living archive of works pertaining to the structure and maintenance of the Haeseni palace and courts; etiquette, customs, and traditions of the Haeseni people; the works of Queens; and all other texts deemed pertinent to a full and robust Haeseni court education. It includes even the newest publications to grace this cherished land, and those oldest texts which we had to bring, bundled in waxed and oiled cloth, hidden beneath the floors of rickety cabins and in the decks of ramshackle ships, from the lands long before. May these writings always provide a spark for the students of the Haeseni Court: be they come from afar, or born in our fair nation; whether they search for its wisdom of their own volition or by the instruction of their elders. Illuminate, by our fires past, the way forth.” - FABIAN D’ARKENT-KORTREVICH, 24th GRAND LORD OF HANSETI-RUSKA If this work is used as intended, it will never be complete. There will always be another generation eager to spill ink; always another record slipped beneath the cracks of history’s bookshelves. Please send any missing works for consideration to the office of the Royal Valdev Library, attention of the High Archivist, subject Prikaz Court Compendium. ✧──────────────⊱🜂⊰──────────────✧ ❖ THE DIARY OF MAYA BARBANOV. Maya of Muldav, year unnoted. [Link] ❖ KOENAS CURATION - FIRST EDITION. Viktoriya of Metterden, 325. A bi-yearly report from the Queen on the happenings of the Royals, the Court, and the Culture in Hanseti-Ruska. [Link] ❖ KOENAS CURATION - SECOND EDITION. Viktoriya of Metterden, 325. A bi-yearly report from the Queen on the happenings of the Royals, the Court, and the Culture in Hanseti-Ruska. [Link] ❖ KOENAS CURATION - THIRD EDITION. Viktoriya of Metterden, 329. A bi-yearly report from the Queen-Mother on the happenings of the Royals, the Court, and the Culture in Hanseti-Ruska. [Link] ❖ KOENAS CURATION - FOURTH EDITION. Viktoriya of Metterden, 331. A bi-yearly report from the Queen Mother on the happenings of the Royals, the Court, and the Culture in Hanseti-Ruska. [Link] ❖ KOENAS CURATION - FIFTH EDITION. Isabel of Valwyck, 355. A report from the Queen on the happenings of the Royal family, Court, and Culture in Haense. [Link] ❖ KOENAS CURATION - SIXTH EDITION. Isabel of Valwyck, 357. A report from the Queen on the happenings of the Royal family, Court, and Culture in Haense. [Link] ❖ KOENAS CURATION - SEVENTH EDITION. Emma of Jerovitz, 402 E.S. A column penned by the Queen on the recent happenings of the Royal Family, Court, Culture, and various other topics relevant to the Kingdom. [Link] ❖ A QUEEN’S JOTTINGS ON WEDDINGS, AND NOT WEDDINGS. Amadea of Susa and anonymous contributor, 10th of Vzmey ag Hyff, 424. A review of the social season’s weddings among the peerage, including the Queen’s own. [Link] ❖ A QUEEN’S JOTTINGS: A CURATION. Amadea of Susa, 15th of Msitza ag Dargund, 428. Notes the birth of her twins; expansion of council positions; upcoming events and etiquette reforms of the era. [Link] ❖ THE NIKIRALA RENOVATION: A CALL FOR A DEMOLITION SQUAD. Amadea of Susa, Isabel Baruch. 13th of Msitza ag Dargund, 433. The Queen and the Lady Palatine address a statement regarding the demolition of the Nikirala Prikaz and the subsequent construction of the Morrivi. [Link] ❖ VE MORRIVI PRIKAZ: THE SPRING PALACE. Amadea of Susa, 4th of Tov ag Yermey, 434. Details the construction of the Morrivi Palace in Karosgrad. [Link] ❖ A QUEEN’S JOTTINGS: THE SECOND CURATION. Amadea of Susa. 13th of Wzuvar ag Byvca, 435. Updates from Amadea of Susa regarding the appointments and vacant positions within the Courts and the wider Kingdom as a whole. [Link] ❖ A QUEEN’S JOTTINGS: A CHANGING OF THE TIDES. Amadea of Susa, 12th Tov ag Yermey, 437. Appointment of Mikhail var Ruthern to the post of Grand Lord following the retirement of his predecessor, Dorothea Barbanov-Bihar, making him the first Lord to oversee the Royal Courts. [Link] ❖ ON THE FORMATION OF THE QUEEN'S WOOD. Amadea of Susa, 12th of Jula ag Piov, 457. A notice from the Quen on the establishment of proper hunting grounds within the Royal City of Karosgrad. [Link] ❖ THE FLIGHT OF A RAVEN. Amaya of Venzia, 6th of Jula ag Piov, 479. An index of every patient the Queen encountered in her youth as a medic, a requirement per her coming-of-age trials. [Link] ❖ THE KOENAS CURATION VOL I. Amaya of Venzia, 4th of Msitza ag Dargund, 486. Writings from Amaya of Venzia on recent appointments and promotions in Hanseti-Ruska, inspired by the works of former Queens Amadea of Susa, Emma of Jerovitz, Isabel of Valwyck, and Viktoriya of Metterden. [Link] ❖ THE ESROVA RENOVATION. Amaya of Venzia, 8th of Msitza ag Dargund, 487. A personal statement from the Queen on her renovations and blueprints of the Esrova Prikaz. [Link] ❖ THE KOENAS CURATION VOL II. Amaya of Venzia, 6th of Vzemy ag Hyff, 491. Writings from Amaya of Venzia on court appointments and wardships. [Link] ❖ THE KOENAS CURATION VOL III. Amaya of Venzia, 8th of Joma ag Umund, 496. Writings from Amaya of Venzia on kingdom-wide events including the Endless Blizzard and court appointments. [Link] ❖ THE QUEEN'S COCOA. Amaya of Venzia, 15th of Jula ag Piov, 504. Queen Amaya's specialized cocoa recipe. [Link] ❖ TO CALL UPON THE COURTIERS. Amaya of Venzia, Anabel Colborn, Marian Weiss, Liridona Amador, Rosalind Valkonen, 11th of Joma ag Umund, 505. A message beckoning the Queen's courtiers to take up arms during the Haeseni-Veletzian conflict, penned and signed by Queen Amaya of Venzia and her inner council. [Link] ❖ A TREATISE ON NORTHERN MEDICINE. Amaya of Venzia, Aster Amador, Henrik Amador, Rozsika Korvacz, 512. A cultural essay on medicinal philosophies during the Aevosian period. [Link] ❖ THE QUEEN'S REFLECTION. Amaya of Venzia, 515. A personal address penned by Amaya of Venzia regarding her role within the Amayan Court. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ A NOTICE FOR PALACE STAFF APPLICATIONS. Analiese Bihar, Alana Grimm, year unnoted. [Link] ❖ THE KINGDOM OF HAENSE HIRING PALACE STAFF. Helena Ruthern, Analiese Bihar, 220. Early structure of the Servantry. [Link] ❖ THE QUEEN’S COUNCIL OF AMADEA ULYSSA. Amadea of Susa, Georgina Barclay. 6th day of Wzuvar ag Byvca, 428. [Link] ❖ THE HANDMAIDENS’ INDEX. Analiesa Barbanov, 443. The handmaidens and ladies-in-waiting of Amadea of Susa’s court, including which ladies they served. [Link] ❖ THE REVISED MORRIVI SERVANTRY. Amadea of Susa and Maya vas Ruthern, 12th of Joma ag Umund, 449. [Link] ❖ VE MORRIVI KORT - THE FORMATION OF THE ROYAL COURT. Amadea of Susa, Analiesa Barbanov, 12th of Msitza ag Dargund, 453. Details the structure of the Amadean Court, including a Minor and Major Advisory Council and the assorted councilors of the Queen therein. [Link] ❖ THE MORRIVI PRIKAZ COUNCIL. Georg I, Sofiya of Hyspia. The Palace Council of Georg I and Sofiya of Hyspia. [Link] ❖ THE ESROVA PRIKAZ COUNCIL. Amaya of Venzia, Fabian d’Arkent Kortrevich, 7th of Wzuvar ag Byvca, 484. Queen’s Council of Amaya of Venzia. [Link] ❖ THE ESROVA SERVANTRY. Amaya of Venzia, Fabian d’Arkent-Kortrevich, 14th of Vzmey ag Hyff, 484. [Link] ❖ RECRUITMENT OF THE ESROVA SERVANTRY. Amaya of Venzia, Liridona Amador. 9th of Joma ag Umund, 503. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ THE HAENSETIAN ART GUILD. Stefan Vladov, year unnoted. Early documentation of Courtly education in the arts. [Link] ❖ THE ROYAL HOUSEHOLD OF HAENSE - VACANT POSITIONS. Elizabeth Gryfford, year unnoted. Early structure of the servantry on Atlas. [Link] ❖ The Reinstatement of the Haeseni Department of Magic. Ludwig van Wick, 247. First recorded instance of a Courtly office dedicated to the abstract arts within the Kingdom. [Link] ❖ The Theodosian Imperial Academy. Elizaveta of Vidaus, year unnoted. The formation of the Imperial academy under the guidance of Queen Elizaveta. [Link] ❖ PALACE STAFF APPLICATION. Milena of Adria, 279. A publication calling upon courtiers to join the ranks of the Ekaterinburg Palace Staff. [Link] ❖ INSTITUTION OF THE CHAMBERLAIN. Milena of Adria, 288. A missive promoting Kamila of Nenzing to the role of Royal Chamberlain within the infantile Haeseni Court. [Link] ❖ THE ROYAL COURT - REVISIONS, 1739. Milena of Adria, Konrad Stafyr, 292. Reforms of the Royal Court during the reign of Queen Milena. [Link] ❖ THE ROYAL COURT STRUCTURE. Maya of Muldav, Aleksandra Alimar, Tatiana Bihar, Grace Mae, year unnoted. Early structure of the Royal Court during the reign of Maya of Muldav. [Link] ❖ UPDATES OF THE ROYAL COURT OF HANSETI-RUSKA. Maya of Muldav, year unnoted. A missive detailing the updates in Maya of Muldav’s Court. [Link] ❖ AVAILABLE POSITIONS WITHIN THE ROYAL COURT OF HANSETI-RUSKA. Maya of Muldav, 304. Court positions offered in Maya of Muldav’s Royal Court. [Link] ❖ WARD INITIATIVE OF 1749. Maya of Muldav, Tatiana Bihar, Aleksandra Alimar, 302. A publication regarding the drive for wards within the Royal Court. [Link] ❖ THE HAESENI WARD INITIATIVE. Isabel of Valwyck, Gronna ag Droba, 339. A missive detailing the wardships within Queen Isabel’s Court. [Link] ❖ UPDATES TO THE ROYAL COURT. Isabel of Valwyck, Gronna ag Droba, 350. Early court structure of Hanseti-Ruska. [Link] ❖ THE TALK OF THE COURT I. Rosalind Amador, Vzemy ag Hyff 357. Early positions and events within the court of Isabel of Valwyck. [Link] ❖ WARDSHIP IN THE ROYAL COURTS. The Amadean Council, 4th of Jula ag Piov, 432. On the educational standards and practices of the royal courts. [Link] ❖ THE DISSOLUTION OF THE ROYAL COUNCILS. Amadea of Susa, 14th of Tov ag Yermey, 453. The Queen and King’s Councils of the Royal Court are dissolved by Amadea of Susa. [Link] ❖ THE MORRIVI ADVISORY COUNCIL. Amadea of Susa, Analiesa Barbanov, 12th of Msitza ag Dargund, 453. A statement regarding the dissolution of the Queen’s Council and the formation of the Morrivi Advisory Council in its stead. [Link] ❖ A STRUCTURAL PROPOSAL. Fabian Kortrevich, 6th of Joma ag Umund, 476. The first structural reform proposed by the Grand Lord during the reign of Sofiya of Hyspia. [Link] ❖ FOR THE HEARTH: A PROPOSAL. Fabian d’Arkent-Kortrevich, 12th of Gronna ag Droba, 482. A philosophical reform tailored by the Grand Lord to the courts of Amaya of Venzia. [Link] ❖ ON THE RECOGNITION OF WARDS. Fabian d’Arkent-Kortrevich, 7th of Joma ag Umund, 487. A proposal by the Grand Lord for ceremonial completions to court wardships. [Link] ❖ THE ESROVA PRIKAZ COURT. Amaya of Venzia, Fabian Kortrevich, and the Advisory Council, 8th of Vzmey ag Hyff, 483. The final structure of the reformed Ember Court during the reign of Amaya of Venzia. [Link] ❖ AN INTRODUCTORY NOTICE FROM THE OFFICE OF THE ABSTRACT. Haus Weiss, 12th of Gronna ag Droba, 485. The structure and policies of the newly-implemented Office of the Abstract as determined by Haus Weiss and Fabian d’Arkent-Kortrevich. [Link] ❖ ON THE CUSTODIAN. Fabian d’Arkent-Kortrevich, 5th of Gronna ag Droba, 486. Establishes precedent of Church complacency in the Aevosian court. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ PRIKABURREN (PRIKAZ BERRY), NATIONAL FRUIT OF HAENSE. Otto the Tarcharman, year unnoted. A study on the national fruit of Hanseti-Ruska. [Link] ❖ THE NORTHERN KITCHEN: A STUDY ON THE CUISINE OF HAENSE. Andrik Freidousein, 288. Recipes and ingredients of the Haeseni kitchen. [Link] ❖ ETIQUETTE OF THE ROYAL COURT OF HANSETI-RUSKA. Maya of Muldav, year unnoted. A publication noting the early forms of etiquette and customs in the Haeseni Court. [Link] ❖ HAESENI CHESS. Robert I, Cetibor the Tarcharman. [Link] ❖ THE GAME OF LAFSK. Sofiya Baruch, year unnoted. A strategic game of wooden blocks for any number of players. [Link] ❖ THE GAME OF WERHEG. Sofiya Baruch and Lauritz Christiansen, year unnoted. A sporting game of balls-and-pins for any number of individual players. [Link] ❖ THE GAME OF WEO OVARE. Aleksandra Stafyr, Maya of Muldav, year unnoted. A historical studies’ game for two players. [Link] ❖ THE LOSS OF HAESENI CULTURES. Amelya Barbanov, 4th of Tov ag Yermey, 319 E.S. A mid-Arcasian analysis of cultural decay in the Kingdom. [Link] ❖ HAESENI GAME OF BOTTEZK ZVAERDZ. Eleanora Mannox, 10th of Jula ag Piov 348. A tops game for two to eight players. [Link] ❖ A GUIDE TO NEW MARIAN. Mariya Barbanov, year unnoted. A full scholarly guide to the Haeseni language. [Link] ❖ ETIQUETTE REFORMS IN THE ROYAL COURT. Rosalind Amador, Isabel of Valwyck, Irena Sarkozy, 353. A publication on conduct and etiquette in Haeseni courts during the reign of Isabel of Valwyck. [Link] ❖ MARRIAGE TRADITIONS IN THE HANSETI-RUSKA COURT. Rosalind Amador, Annika of Reza, year unnoted. First recorded publication on matrimonial traditions in Haeseni courts. [Link] ❖ CUISINE OF HANSETI-RUSKA. Alexandria Barbanov, 359. A review of the crops, game, and recipes of the Haeseni. [Link] ❖ HAESENI SUPERSTITIONS AND OMENS. Gregoryi Ostrovsky and Annika of Reza, 10th of Vzmey ag Hyff, 382. [Link] ❖ ETIKET I VE KORT: HAUCHMETVAS, COURTSHIP, BETROTHALS AND MATRIMONY. The Emman Council, 12th of Joga ag Umund, 409. [Link] ❖ THE NOBLE FELINES AND CANINES. Analiesa Ludovar, 410. Household and working animals of all castes of Haeseni society. [Link] ❖ VE BLAUWMS I HANSETI-RUSKA. Klara Barbanov, 411. Floral traditions of the Haeseni, later re-implemented by Fabian Kortrevich. [Link] ❖ VE BLAUWMS I HANSETI-RUSKA II. Klara Barbanov, 411. Continuation of the floral traditions of the Haeseni. [Link] ❖ ETIKET I VE KORT: SOCIAL GATHERINGS, COURTLY MANNERS, AND DINING. The Amadean Council, 4th of Msitza ag Dargund, 427. [Link] ❖ ETIQUETTE AND TRADITIONS OF THE JOUST. Georg I and Aleksandr Ruthern, 6th of Msitza ag Dargund, 440. [Link] ❖ ETIKET I VE KORT: HANDMAIDENS IN NOBILITY. Analiesa Josefina and the Amadean court, 12th of Joma ag Umund, 443. Duties and responsibilities of court handmaidens. [Link] ❖ HOUSE FEUDS ETIQUETTE. Tatyana Ludovar, 10th of Msitza ag Dargund, 448. Appropriate conduct for members of feuding noble houses and observing citizenry. [Link] ❖ HAESENI MILITARY ETIQUETTE. Rosalind Amador and Alric Ruthern, 359; updated by Sviatoslov Godunov, 450. Proper conduct for both members of the Brotherhood and those addressing them. [Link] ❖ ETIQUETTE OF THE HUNT. Aleksandr Ruthern and Sterling Amador, 1st of Msitza ag Dargund, 469. Structure and procedure of courtly Haeseni hunting. [Link] ❖ THE BLADES OF THE HUNT. Rolim Tordove, 10th of Gronna ag Droba, 481. Swords and weaponry held by the Office of the Hunt. [Link] ❖ THE ETIQUETTE OF WRITING LETTERS. Sofiya of Hyspia, 7th of Vzmey ag Hyff, 481. [Link] ❖ TRAVELLER’S GUIDE TO HAESENI CONVERSATION. The Aulic Council, 15th of Gronna ag Droba, 488. [Link] ❖ HAESENI CUSTOMS I. The Amayan Council, 7th of Tov ag Yermey, 497. Gestures, phrases, and addresses of the Haeseni people in the early Aevosian period. [Link] ❖ HAESENI CUSTOMS II: CULTURAL DANCES. Amaya of Venzia, Adela de Leuven, Anabel Colborn, 8th of Gronna ag Droba, 502. An in-depth study on the cultural dances observed throughout Hanseti-Ruska. [Link] ❖ HAESENI CUSTOMS III: HOLIDAYS. Amaya of Venzia, Adela de Leuven, Anabel Colborn. 8th of Msitza ag Dargund, 503. An extensive history of culturally significant Haeseni holidays. [Link] ❖ HAESENI CUSTOMS IV: GAMES. Amaya of Venzia, Adela de Leuven, Irena Kortrevich, Aithwin Aldor. 21st of Tov ag Yermey, 507. Recreational activities the Haeseni partake in. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ A TREATISE ON HONOR. Alistair Wailer, 139. [Link] ❖ ON THE ANCIENT HISTORY OF THE HIGHLANDER PEOPLE. Brother Aleksandr, 242. [Link] ❖ HAESENI PEOPLE. Author and year unnoted. A comprehensive study on traditions and customs of the Haeseni people in years past. [Link] ❖ CONSORTS OF HAENSE. Irena C. Sarkozy, Otto the Tarcharman, Viktor Kortrevich, year unnoted. A comprehensive study on the Queen-consorts of Hanseti-Ruska. [Link] ❖ ETHNICITIES AND SUBCULTURES OF HAENSE. Otto Barrow, 316. [Link] ❖ PEASANT EPIGRAMS AND RHYMES. Aleksey the Younger, 384. Sayings and folk-songs of the rural Haeseni peasantry. [Link] ❖ KAROSGRADIAN NAUMARIAV PEASANTRY. Author and year unnoted. A study conducted on the peasantry of the Almarian period. [Link] ❖ THE HAESENI NATIONAL ANTHEM. Feodor May, 378. [Link] ❖ HAESENI CAROLS. Feodor May, 400. [Link] ❖ SEASONS OF HAENSE. Sigismund III, year unnoted. A comprehensive study detailing the seasons of Haense upon Almaris and the behaviors of the Haeseni observed during each seasonal period. [Link] ❖ PRINZENAS ROYALS VAN HANSETI-RUSKA. Austina Aldersberg, 11th of Msitza ag Dargund, 437. A study on the Princess Royals of Hanseti-Ruska and their respective biographies. [Link] ❖ IN CELEBRATION OF OUR VICTORY AT WHITESPIRE. Sermi Ulveyn, 20th of Vzmey ag Hyff, 505. A ballad that depicts the Haeseni victory over Stassion and Veletz at Whitespire. [Link] ❖ THE SIEGE OF BREAKWATER KEEP. Marius Lovetts, 11th of Tov ag Yermey, 506. A wartime poem retelling the Haeseni victory at the Ferrymen's Breakwater Keep. [Link] ❖ IN CELEBRATION OF HAESENI CULTURE. Sermi Ulveyn, 10th of Joma ag Umund, 506. Assorted ballads dedicated to Haeseni culture. [Link] ❖ PEACE AGAIN. Verdier, 20th of Grona ag Droba, 513. A wartime ballad penned by a bard of the Amayan Court. [Link] ❖ THE QUEEN'S HAND. Verdier, year unnoted. A ballad dedicated to Amaya of Venzia's victory in an honor duel. [Link] ❖ AGONY OF BROTHERHOOOD. Verdier, Reza Weiss. A song lamenting two comrades' struggles within the Brotherhood of Saint Karl. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ ROYAL LETTERS FOR THE COUNTY OF MONDSTADT. Marius I, 153. Early ennoblement of House Amador. [Link] ❖ HOUSE AMADOR. Author and year unnoted. First publication detailing the House’s history. [Link] ❖ HOUSE AMADOR. Author and year unnoted. History and state of the House up to the beginning of Edvard Amador’s treasury career. [Link] ❖ THE STORY OF THE MOUNTAIN GIANT. Owyn Amador, year unnoted. A legendary retelling of a friend’s adventures. [Link] ❖ THE MEMOIRS OF AYLWIN BLAXTON. Aylwin Blaxton, 148 - 157. [Link] ❖ THE AMADOR DISENFRANCHISEMENT ACT. Andrik III, 278. One of Amador’s many removals from Haeseni nobility. [Link] ❖ ROYAL LETTERS FOR THE BARONY OF MONDSTADT. Georg I, 9th of Joma ag Umund, 475. One of Amador’s many reinstatements to nobility. [Link] ❖ A BRIEF HISTORY OF HOUSE AMADOR. Nataliya Amador, Albus Amador, and Aleksandr Amador, 479. [Link] ❖ JEWELS OF HOUSE AMADOR. Liridona Amador, 496. The jewelry collection of House Amador as kept by its regent in the early Aevosian period. [Link] ❖ ON ASHEN TRADITIONS: CUSTOMS & RITES OF HOUSE AMADOR. Henrik Amador, 17th of Joma & Umund, 497. Coming-of-age traditions within House Amador. [Link] ❖ WHAT DARKENED OUR DOOR. Henrik Amador, 8th of Gronna ag Droba, 500. A personal retelling of the events at Mondstadt during the month of Gronna ag Droba of 500 E.S. [Link] ❖ THE METTLE OF AMADOR. Deia, Amaya of Venzia, 18th of Joma ag Umund, 505. A written presentation of a piece painted by Firress Deia, handmaiden of the Queen and a painter of the Esrova Court. The piece depicts Lady Theodosya Amador following an incident during the Haeseni-Veletzian conflict. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ THE BARCLAY ROLL OF ARMS. Author and year unnoted. The running roll of crests and coat-of-arms under the claimancy of House Barclay. [Link] ❖ THE BALLAD OF LORD JOHANN’S BLESSED AXE. Author and year unnoted. Sung tale of Lord Marshal Johann Barclay’s achievements. [Link] ❖ KOLVYK AND ROVYK, THE HALF-BROTHER TWINS: WALDENIAN ETIOLOGICAL MYTH. Otto the Tarcharman, year unnoted. A recorded origin story from Waldenian oral history. [Link] ❖ ON THE LIFE OF MANFRED BARCLAY. Author and year unnoted. Biography of Lord Marshal Manfred Barclay and his dukedom in the Inferi wars. [Link] ❖ DUKE ERWIN OF REINMAR. Alfred Barclay, 354. Biography of Erwin Barclay throughout his tenure as Lord Marshal and Duke of Reinmar. [Link] ❖ THE REVIVAL OF WALDENIAN FASHIONS. Petra Barbanov, 10th of Vzmey ag Hyff, 403. [Link] ❖ RESTORATION OF TRADITION. Wilhelm Barclay, 24th of Joma ag Umund, 447. The wedding of Wilhelm Barclay and Josefina Kortrevich, and according rites of passage. [Link] ❖ ON ARCHITECTS AND ARCHITECTURE OF HANSETI-RUSKA: THE DUCHY OF REINMAR. Thondorus Stafyr, 12th of Tov ag Yermey, 502. A study on the Aevosian architecture of the Duchy of Reinmar. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ HOUSE BARUCH. Author and year unnoted. First record of House Baruch’s existence within the realm of Haense. [Link] ❖ ROYAL LETTERS FOR THE COUNTY OF AYR. Andrik II, 136. Early ennoblement of House Baruch. [Link] ❖ HOUSE BARUCH. Author and year unnoted. Another study on the early history of House Baruch. [Link] ❖ THE PEOPLE OF AYR AND VALWYCK. Author & year unnoted. Early notations on the House Baruch and Ayrikiv people. [Link] ❖ CHRONICLES OF THE AYR; THE TALE OF THE BEAR. Sigmar Baruch, 298. [Link] ❖ THE HISTORY OF HOUSE BARUCH. Sigmar Baruch, 316. [Link] ❖ HISTORICAL STUDY OF OTTO BARUCH. Viktor Kortrevich, 355. The biography of the second-ever Baruch lord. [Link] ❖ THE CHRONICLE OF THE AYRIKIV. Brenainn of Archenberch and Eirik Baruch, 427. Legends and memoirs of the Ayrikiv people. [Link] ❖ BALLADS FROM THE LAND OF AYR. Roslin Baruch, 467. Documentation of Ayrikiv folk-songs and renewed effort for the preservation of Ayrikiv culture. [Link] ❖ THE UNICORN AND THE GIRL: AN AYRIKIV SPIN-OFF. Catriona Baruch, 493. [Link] ❖ THE TROLLS OF BILLY GOAT GROVE: A FAIRYTALE. Catriona Baruch, 494. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ HOUSE COLBORN. Author and year unnoted. First record of House Colborn’s existence within the realm of Haense. [Link] ❖ BEAUTY INCARNATE. Maesie Morovar-Colborn, year unnoted. A poem and ode to her family. [Link] ❖ ROYAL POETRY VOL 1. Felyx Colborn, year unnoted. [Link] ❖ ROYAL POETRY VOL 2. Felyx Colborn, year unnoted. [Link] ❖ SCYFLING CULTURE: TRADITIONAL FASHION. Anabel Colborn, 10th of Gronna ag Droba, 453. [Link] ❖ Colborn Traditions: The Rite of Godric. Elia Colborn-Stafyr, year unnoted. Legitimization rituals and traditions observed in the House of Colborn. [Link] ❖ MOROVAR ALMANAC: VENZIA AND COLBORN. Zerlina Morovar and Bogdana Barrow, 473. History and Almarian lands of the House Colborn. [Link] ❖ The Cornerstone Cookbook. Marija Colborn, 11th of Wzuvar ag Byvca, 480. [Link] ❖ SCYFLING CULTURE: WEDDING TRADITIONS. Anabel Colborn, 6th of Mzitza ag Dargund, 482. [Link] ❖ SCYFLING CULTURE: ANCIENT CUSTOMS. Anabel Colborn, 10th of Vzmey ag Hyff, 491. [Link] ✧──────────────⊱🜂⊰──────────────✧ *For the writings of Manon Godunov, Baroness emeritus, see the section on ALCHEMY, ASTROLOGY, AND THE ABSTRACT. ❖ HOUSE OF GODUNOV. Author and year unnoted. A study on the origins of House Godunov and its current hailing members at the time of publication. [Link] ❖ ROYAL LETTERS FOR THE BARONY OF VERSKAYA. Karl III, 14th of Wzuvar ag Byvca, 451. Raising of House Godunov to the peerage of Hanseti-Ruska. [Link] ❖ A YOUNG SPARROW STRIKES AGAIN! Alyona Godunov, year unnoted. A publication from Alyona Godunov’s youthful exploits in the child parody kingdom, ‘Hoonse.’ [Link] ❖ YAM LEAVING. Alyona Godunov, year unnoted. A harrowing account from Alyona Godunov’s youthful exploits in the child parody kingdom, ‘Hoonse.’ [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ THE LIFE OF SER NIKOLAUS KORTREVICH. Otto Kortrevich, year unnoted. [Link] ❖ TEARS UPON A ROSE’S PETAL. Emelya Kortrevich, year unnoted. [Link] ❖ THE LIFE OF DAME PRIMROSE KORTREVICH. Duncan Kortrevich, 321. [Link] ❖ THE PRINCE OF THE NORTH. Mariya Annaliese Baruch-Kortrevich, 12th of Jula ag Piov, 345. A Haeseni folktale penned by the hand of the Margravine-Consort of Korstadt. [Link] ❖ THE FLOWERS OF JEROVITZ. Fabian Kortrevich, 11th of Wzuvar ag Byvca, 469. Floral traditions of the Koravians and House Kortrevich. [Link] ❖ MOROVAR ALMANAC: JEROVITZ AND KORTREVICH. Zerlina Morovar, 472. Overview of the Almarian County of Jerovitz and the House Kortrevich history. [Link] ❖ THE LIFE AND COMPLETE WORKS OF BORRIS IVER KORTREVICH. Borris Kortrevich, 12th of Mszita ag Dargund, 482. [Link] ❖ A FROZEN DREAM. Elena Kortrevich, 495. [Link] ❖ A COLD NIGHT. Leonid d’Arkent-Kortrevich, 496. [Link] ❖ SHATTERED. Leonid d’Arkent-Kortrevich, 499. An ode to heartbreak and the author's first love. [Link] ❖ TO THE MAN I CALLED BROTHER. Leonid d’Arkent-Kortrevich, 14th of Wzuvar ag Byvca, 503. [Link] ❖ A BRAWL BETWEEN BROTHERS. Leonid d'Arkent-Kortrevich, 14th of Wzuvar ag Byvca, 503. [Link] ❖ THE L.M.A.K ANTHOLOGY - VOLUME I. Leonid d'Arkent-Kortrevich, 14th of Wzuvar ag Byvca, 503. [Link] ❖ SIEGE UPON THE SENSES. Elena Kortrevich, 504. A poem detailing the lady's outlook on the Long Winter afflicting Haense. [Link] ❖ THE FERRYMAN'S FOLLY. Leonid d'Arkent-Kortrevich, 506. Detailed depiction of the Siege of Breakwater Keep in poetic verse. [Link] ❖ THE FALL OF BRASCA. Leonid d'Arkent-Kortrevich, 507. A poet's retelling of the Haeseni victory over Brasca keep. [Link] ❖ I LOVE YOU. Elena Kortrevich, 509. A heartfelt poem about love and longing. [Link] ❖ DIAMONDS. Leonid d'Arkent-Kortrevich, 513. [Link] ❖ SILENT REBELLION. Leonid d'Arkent-Kortrevich, 517. A poem narrating the uprising in the ruins of Veletz. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ IDIOMA DE LAS FANS: CODEX I VOL. I. Esperanza de Pelear, year unnoted. The courtly language of fans. [Link] ❖ COSMÉTICOS DE HYSPIA: CODEX I VOL. III. Amity de Pelear and Sofiya of Hyspia, year unnoted. Cosmetics and hygiene routines of Hyspian women. [Link] ❖ SOBRE PERFUMERIA: CODEX I VOL. III. Sofiya of Hyspia, year unnoted. The making and wearing of perfumes in Hyspian custom. [Link] ❖ THE TALE OF HORSE AND CROW. Sofiya of Hyspia, 7th of Joma ag Umund, 477. [Link] ✧──────────────⊱🜂⊰──────────────✧ *For the publications and rebound works of Hieromar Ludovar the Elder, please visit the Directory of Haeseni Works archive. ❖ Ludovar Lore Initiative: The Elk Prince. Mariya Ludovar, 315. A folktale published by Lady Mariya Ludovar. [Link] ❖ THE HOUSE OF LUDOVAR. Author and year unnoted. History of the House of Ludovar into the Arcas period. [Link] ❖ BIOLOGY AND GENEALOGY OF A FORGOTTEN KNIGHT AND PEER, FREDERICK LUDOVAR. Barinmar Kvazyev, year unnoted. Ancestry, lineage, and accomplishments of Sir Frederick Ludovar. [Link] ❖ THE RICKSBURG DECREE. Henrik Ludovar, Karina Ludovar, Stanimar Ludovar, and Branimar Kvazyev, 13th of Tov ag Yermey, 478. Degree reorienting Ludovar inheritance to the Kvazyev line and the formal unification of the Vuiller-Ludovar and Baruch-Kvazyev lines into the present-day Ludovar inheritance. [Link] ❖ LORENA'S LAMENT: A PLAY IN THREE ACTS. Ludvika Ludovar, 12th of Joma ag Umund, 499. [Link] ❖ VE SOFYA KOLEKCJA: TO BE A LADY. Ludvika Ludovar, 10th of Gronna ag Droba, 503. [Link] ❖ SHORT STORIES: SEAGULLS AND TEA. Christine Fersen, Ludvika Ludovar, 13th of Msitza ag Dargund, 503. The first tale penned by the handmaiden of House Ludovar, Christine Fersen, and edited by writer Lady Ludvika Ludovar. [Link] ❖ SHORT STORIES:THE HANDKERCHIEF. Christine Fersen, 3rd of Jula ag Piov, 503. [Link] ❖ THE TORMENT OF TATIANA. Ludvika Ludovar, 13th of Vzmey ag Hyff, 505. A play in four acts about the rumored romance of Tatiana Ruthern and Prince Antonius. [Link] ❖ THE SOCKS OF STRATAGEM. Ludvika Ludovar, 10th of Msitza ag Dargund, 510. A play in two acts penned by the Ludovar playwright. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ THE COUNTY OF METTERDEN. Author and year unnoted. The first record of House Ruthern’s existence in the Haeseni archives. [Link] ❖ HOUSE RUTHERN. Author and year unnoted. First publication detailing the House’s history. [Link] ❖ AN IN-DEPTH HISTORY OF THE GREYSPINE REBELLION. Stefan Aleksandr Vyronov, year unnoted. Historical account of the Greyspine Rebellion, including the House Ruthern’s assistance in the uprising against Courland and efforts to claim the Northern crown. [Link] ❖ HOUSE RUTHERN. Author and year unnoted. Another early publication detailing the House’s history. [Link] ❖ BLACK COMPANY. Author and year unnoted. Infantile form of Ruthern’s houseguard. [Link] ❖ TOME OF THE RUTHERNS. Multiple contributors, year unnoted. The Dukes, artifacts, and origins of the House Ruthern up to Mikhail T. Ruthern. [Link] ❖ THE LAY OF TUVYA AND VIKTOR. Aleksey the Younger, 351. Telling of the turmoil between two Ruthern brothers and written under the patronage of Maric Ruthern, Count of Metterden. [Link] ❖ RITES OF WORTH. Mikhail Ruthern, 13th of Msitza ag Dargund, 443. Coming-of-age trials for Ruthern children. [Link] ❖ TOME OF THE RUTHERNS: THE QUEENS OF HOUSE RUTHERN. Viorica Kortrevich, 1st of Gronna ag Droba, 444. Collection of the Queen-Consorts from Vidaus. [Link] ❖ THE LIFE OF RHYS RUTHERN, DUKE OF VIDAUS. Maric, Alric, and Irena Ruthern, year unnoted. Biography of Rhys Ruthern, Lord Marshal and Duke of Vidaus. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ THE BOOK OF TALES, CHAPTERS I-V. Author unknown. Compendium of human history primarily from the Stafyr perspective and involvement. [Link] ❖ HOUSE STAFYR. Arthur Stafyr, year unnoted. A comprehensive collection of artifacts, cultural origins, and history of the House of Stafyr. [Link] ❖ A HISTORY OF THE HOUSE STAFYR. Year and author unnoted. [Link] ❖ THE CHRONICLES FARLEY STAFYR. Berendon Hanethor, 181. [Link] ❖ THE CHRONICLES OF SAINT GODWEIN. Berendon Hanethor, 181. [Link] ❖ ON THE LIFE AND DEATH OF THE MARGRAVE OF SCHATTENBURG. Berendon Hanethor, 262. [Link] ❖ THE OLD ALMANNIR DICTIONARY. Author unnoted; 16th of Tov ag Yermey, 458. [Link] ❖ AN ENTRY INTO THE BOOK OF TALES I. Arthur, Elia, and Thondorous Stafyr, 8th of Jula ag Piov, 458. Recordings of the line of Hanethor. [Link] ❖ VE HAESENI KUNST: PLACES OF ALMARIS. Thondorous Stafyr, year unnoted. Artistic depictions of places upon the continent of Almaris. [Link] ❖ VE HAESENI KUNST: KOENG GEORG I AV HANSETI-RUSKA. Thondorous Stafyr, year unnoted. A published art piece of the Koeng Georg I painted by the Master of the Arts. [Link] ❖ ON THE SIEGE OF THE MORI - A PAINTING AND A SONG. Thondorus Stafyr, 475. [Link] ❖ AN ENTRY INTO THE BOOK OF TALES II. Edmund and Thondorous Stafyr, 8th of Joma ag Umund, 488. Births of the Stafyr-Beron line. [Link] ❖ SUNTRZUG - ON ALMANNIR TUVMAS. Katrin Stafyr, year unnoted. The traditions of House Stafyr during the Tuvmas season. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ THE ZVAERVAULD GREAT HORSE. Audo Weiss, 4th of Gronna ag Droba, 463. Declaration of the Zvaervauld Great Horse, the preferred breed of the House Weiss. [Link] ❖ THE FIVE MAXIMS OF PRIDE. Audo Weiss, 6th of Tov ag Yermey, 466. Guiding principles required of the children of House Weiss by verdict of Audo Weiss, Viscount and Knight Paramount. [Link] ❖ THE DAWN OF ZVAERVAULD GOLD. Felix Weiss, 4th of Jula ag Piov, 471. Announcement of Zvaervauld Gold, the mead classically produced using the aviaries of the House Weiss. [Link] ❖ TO BE HAESENI - A FINAL WARD ESSAY. Marian Blackwood, 10th of Tog ag Yermey, 490. Essay by the eventual Viscountess-Consort Marian Weiss on the Haeseni spirit. [Link] ❖ ON HORSES AND THEIR NATURE: NOVKURSAIN. Isabel Barbanov-Bihar, 502. Essay on the horse breeds of Novkursain. [Link] ❖ A STUDY ON HAESENI JEWELRY: AMETHYSTS AND PEARLS. Ofeliya Weiss, 10th of Grona ag Droba, 509. [Link] ❖ A STUDY ON HAESENI JEWELRY: BEJEWELLING KOKOSHNIKS. Ofeliya Weiss, 4th of Grona ag Droba, 510. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ COURT INITIATIVE: FURS AND PELTS. Maya of Muldav, year unnoted. The initial surgence of furs and pelts documented in the Courts. [Link] ❖ TRADITIONAL HAESENI DRESS AND ATTIRE. Amelya Barbanov, 328. Fundamental language for garments and uniforms of Hanseti-Ruska. [Link] ❖ WOMEN’S FASHION OF HANSETI-RUSKA. Katerina Barbanov, Wzuvar ag Bycza, 362. [Link] ❖ THE RESURGENCE OF RUSKAN FASHION. Annika of Reza, 3rd of Tov ag Yermey, 382. [Link] ❖ MODA I VE KORT: KOKOSHNIKS. Emma of Jerovitz, Nikoleta Morovar, and the Office of the Wardrobe, 8th of Tov ag Yermey, 405. Appropriate attiring and adornment of kokoshnik headdresses. [Link] ❖ MODA I VE KORT: COLORS AND THEIR RESPECTIVE SYMBOLISMS IN THE ROYAL COURTS OF HANSETI-RUSKA. Nikoleta Morovar, Marie Lorraine Ruthern, and Amelya Evelot, 12th of Tov ag Yermey, 407. [Link] ❖ THE NIKIRALA FASHION SHOW AND AUCTION. Emma of Jerovitz, Nikoleta Morovar, and the Office of the Wardrobe, 16th of Gronna ag Droba, 408. [Link] ❖ MODA I VE KORT: KOENAS’ BROOCHES. Emma of Jerovitz and Nikoleta Morovar, Wzuvar ag Byvca, 409. The pins given by Emma of Jerovitz to her courtiers and advisors to recognize their positions and standings, summarized. [Link] ❖ MODA I VE KORT: VEILS AG SASHES. Emma of Jerovitz, Nikoleta Morovar, and the Office of the Wardrobe, 12th of Tov ag Yermey, 411. [Link] ❖ MODA I VE KORT: GEMSTONES. Emma of Jerovitz, Nikoleta Morovar, Margot Baruch, and the Office of the Wardrobe, 3rd of Vzmey ag Hyff, 413. [Link] ❖ MODA I VE KORT: MEN’S FASHION. Emma of Jerovitz, Nikoleta Morovar, and the Office of the Wardrobe, 9th of Tov ag Yermey, 416. Overview of customs and conduct for men of all statuses and Houses, including sashes, coats, and jewelry. [Link] ❖ MODA I VE KORT: GOLD ETIQUETTE. Emma of Jerovitz and Nikoleta Morovar, Tov ag Yermey, 420. [Link] ❖ MODA I VE KORT: MOURNING. Nikoleta Baruch, 10th of Tov ag Yermey, 429. Mourning periods and appropriate dress. [Link] ❖ MODA I VE KORT: COSMETICS. Amadea of Susa, Nikoleta Baruch, Margot Baruch, and the Office of the Wardrobe, 15th of Joma ag Umund, 437. [Link] ❖ MODA I VE KORT: 100 YEARS OF FASHION. Amadea of Susa, Nikoleta Baruch, and the Office of the Wardrobe, 7th of Tog ag Yermey, 439. [Link] ❖ KROTYAV I VE EDLERVIK VOL I. Viorica Kortrevich and the Office of the Wardrobe, 10th of Tov ag Yermey, 470. A review of cultural fashions found in Hanseti-Ruska during the reign of Georg I. [Link] ❖ KROTYAV I VE EDLERVIK VOL II. Viorica Kortrevich and the Office of the Wardrobe, 8th of Jula ag Piov, 476. A continued culmination of cultural styles across Haeseni subgroups. [Link] ❖ UNFAMILIAR DYES AND FABRICS OF THE UNDERDARK. Sofiya of Hyspia, Sterling Amador, and Murtagh Amador, 8th of Jula ag Piov, 479. [Link] ❖ GARMENTS OF THE VALDEV AUCTION. Sofiya of Hyspia, Amaya of Venzia, and the Advisory Council, 482. Garments auctioned off to raise funds for the newly-landed Royal Capital and depictive of fashion at the end of the Georgian reign. [Link] ❖ KROTYAV I VE EDLERVIK VOL III. Amaya of Venzia, Anabel Colborn, Murtagh Amador, and the Office of the Wardrobe, 6th of Jula ag Piov, 491. A review of the meanings of assorted furs in the Royal Courts and how to appropriately don them in Haeseni fashion. [Link] ❖ TO CAPITALIZE UPON CIRCUMSTANCE. Murtagh Amador, 11th of Msitza ag Dargund, 491. A notice on the construction and utilization of beaver fur in garments considered fashionable at the height of the Amayan reign following a beaver infestation throughout Valdev. [Link] ❖ EPOCHS OF HAESENI COUTURE. Marjoreya vas Ruthern, Roslin Baruch, Amaya of Venzia, 17th of Wzuvar ag Byvca, 500. An extensive study on the eras of Haeseni fashion and couture up until the present Valdevic era. [Link] ❖ THE COMPENDIUM OF HAESENI GEMSTONES: VOL I. Amaya of Venzia, Ofeliya Weiss, Aveline Kortrevich, 12th of Joma ag Umund, 510. [Link] ❖ THE COMPENDIUM OF HAESENI GEMSTONES: VOL II. Amaya of Venzia, Ofeliya Weiss, Aveline Kortrevich, 12th of Joma ag Umund, 513. [Link] ❖ THE CURATOR'S CATALOG: VOL I. Ofeliya Weiss, 513. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ THE CROWN JEWELS OF HANSETI-RUSKA. Annika of Reza, Jula ag Piov, 402. The royal collection as of the early Almarian period. [Link] ❖ THE CROWN JEWELS OF HANSETI-RUSKA II. Annika of Reza, Joma ag Umund, 409. [Link] ❖ MODA I VE KORT: CORONATION REGALIA. Nikoleta Baruch, 8th of Tov ag Yermey, 427. Coronation jewels and dress of the King and Queen in the mid-Almarian period. [Link] ❖ MODA I VE KORT: ROYAL HEADDRESSES. Amadea of Susa and Nikoleta Baruch, 7th of Vzmey ag Hyff, 441. The tiaras, crowns, and kokoshniks of the Royal Household. [Link] ❖ THE KOKOSHNIK OF PROSPERITY. Emelie Ashford de Falstaff, 444. A story and the creation of the Kokoshnik of Prosperity, gifted to Amadea of Susa by the Lady Falstaff. [Link] ❖ THE EXCHANGE OF LOYALTY. Elia Stafyr, 3rd of Jula ag Piov, 459. Three classes of prestigious gifts given to a number of loyal advisors, friends, and subjects after the passing of Karl III and Amadea of Susa. [Link] ❖ BARBANOV COLLECTION I. Elia Stafyr, 9th of Jula ag Piov, 480. The jewels of Georg I’s family, including his first and second wives; children; and siblings. [Link] ❖ THE LOYAL EXCHANGE II. Elia Stafyr, 6th of Gronna ag Droba, 482. The awards given to Georg I and Sofiya of Hyspia’s closest advisors, friends, and subjects after their reign. [Link] ❖ THE MORI COLLECTION. Elia Stafyr, 7th of Gronna ag Droba, 482. A collection of jewels gathered from the Mori caverns during the flight from Almaris and set for Georg I and Sofiya of Hyspia’s household. [Link] ❖ THE HANSO-HYSPIA COLLECTION. Erika Stafyr and Sergei Kortrevich, 7th of Gronna ag Droba, 482. Jewels designed by Erika Stafyr and her apprentice for Sofiya of Hyspia and her ancestry. [Link] ❖ THE EMBER COLLECTION. Elia Stafyr, 6th of Jula ag Piov, 491. The final collection published by Elia Stafyr, and that which she made for Amaya of Venzia, her kinswoman. [Link] ✧──────────────⊱🜂⊰──────────────✧ *Publications which were either produced by the Palace’s Office of the Abstract or which influenced its curriculum. ❖ SIGMUNDIC CALENDAR AND HAESENI ZODIAC. Year and author unnoted. [Link] ❖ A Haeseni Magick Update. Ludwig van WIck, 257. Early record of abstract knowledge within the Kingdom of Haense. [Link] ❖ HAESENI MYTHOLOGIE (HANSO-RAEV PANTHEON AND DULONIAN FOLKLORE). Otto the Tarcharman, year unnoted. [Link] ❖ THE HAESENI ZODIAC. Mischa Florentina, 16th of Vzemy ag Hyff, 489. The interpretation of the Haeseni Zodiac during the early Aevosian period. [Link] ❖ A JOINT STUDY: THE INTRODUCTION TO CELESTIAL BOTANY. Mischa Florentina and Manon Godunov, 10th of Gronna ag Droba, 489. A philosophical study Haeseni folkloric and celestial influence on alchemy. [Link] ❖ THE OFFICIAL ESTABLISHMENT OF THE HAESENI BIRTHSTONES. Amaya of Venzia, Mischa Florentina, and Verónica Weiss, 2nd of Tog ag Yermey, 491. [Link] ❖ THE OFFICE OF THE ALCHEMIST: LIFE, DEATH, AND THE CONTRADICTIONS WHEREIN. Manon Godunov, Elena Casimira, and Roslin Baruch, year unnoted. Works from the apprentices of the Court Alchemist on arachnid lifespans and human nature. [Link] ❖ THE OFFICE OF THE ALCHEMIST: A FORAY INTO ALCHEMICAL PHILOSOPHY. Manon Godunov, year unnoted. A foundational philosophical approach to alchemy which would later inform Lady Godunov’s teachings as Court Alchemist. [Link] ❖ THE OFFICE OF THE ALCHEMIST: AZOTH, ALKAHEST, AND PANACEA. Manon Godunov, year unnoted. [Link] ❖ THE OFFICE OF THE ALCHEMIST: ARS FRAGMENTI. Manon Godunov, year unnoted. [Link] ❖ THE OFFICE OF THE ALCHEMIST: A RECOUNTED TALE. Manon Godunov, year unnoted. [Link] ❖ A THREAT TO THE SECURITY OF OUR PEOPLES, OUR LANDS, AND OUR SKIES. Mischa Florentina, Amaya of Venzia, 5th of Wzuvar ag Byvca, 514. The Court Astronomer's report of a celestial anomaly seen upon Aevos. [Link] ✧──────────────⊱🜂⊰──────────────✧ ❖ LIFSTALA - THE HAESENI SEASON. Rosalind Amador and Isabel of Valwyck, 360. The first recorded Lifstala in Haeseni history. [Link] ❖ THE HAESENI SEASON. Annika of Reza, Rosalind Amador, 372. The second observance of the Haeseni Lifstala, [Link] ❖ VE LIFSTALA - THE HAESENI SOCIAL SEASON III. Emma of Jerovitz, Adalia Ruthern, 396. The third observance of the Haeseni Social season. [Link] ❖ MODA I VE KORT: LIFSTALA DRESSES. Office of the Wardrobe, 16th of Joma ag Umund, 418. Reviews of the social season gowns under Emma of Jerovitz, including the typical donning of crimson and pearls. [Link] ❖ THE KOENAS’ JOTTINGS: MALE PRESENTATIONS. Emma of Jerovitz, 10th of Joma ag Umund, 419. The Queen’s writings on mens’ debuts of the social season, including Karl III. [Link] ❖ VE LIFSTALA: THE FIFTH HAESENI SOCIAL SEASON. Amadea of Susa and Mikhail var Ruthern, 12th of Wzuvar ag Byvca, 443. [Link] ❖ MODA I VE KORT: DEBUTANTE REVIEWS. Amadea of Susa and Nikoleta Baruch, 9th of Tov ag Yermey, 444. Reviews of debuting ladies in the court of Amadea of Susa. [Link] ❖ VE WYRSAVEST. Viorica Kortrevich, 10th of Vzmey ag Hyff, 474. A pre-season courting festival in the court of Georg I. [Link] ❖ VE LIFSTALA: INFORMATIONAL GUIDE. Sofiya of Hyspia, Analiesa of Karosgrad, Fabian Kortrevich, and the Advisory Council, 9th of Joma ag Umund, 479. [Link] ❖ THE SIXTH LIFSTALA: DEBUTANTE REVIEWS. Sofiya of Hyspia, Fabian Kortrevich, and Murtagh Amador, 24th of Tov ag Yermey, 482. Commentary on the debuting ladies’ of the first Aevosian social season. [Link] ❖ VE JULIYAFEST: THE VALDEVIC RITE OF ADULTHOOD. The Amayan Council, 10th of Tov ag Yermey, 501. The first embellished celebration of the Juliyafest, replacing the customary Lifstala seen in years prior. Occurring during the reign of Queen Amaya, it established the precedence of religious celebrations that would succeed the social seasons of yore. [Link] ❖ THE JULIYAFEST JOTTINGS. Amaya of Venzia, Galina Godunov, Esmeray Luceran, 22nd of Tov ag Yermey, 504. Jottings from various authors on the occurrences of the first Juliyafest season. [Link] ✧──────────────⊱🜂⊰──────────────✧ *Celebrations which set a notable precedent; occurred during turbulent or historical events; or marked a significant milestone in Haeseni history. ❖ THE FIRST ROYAL TOURNAMENT OF ST. KARLSBURG. Author and year unnoted. [Link] ❖ A DAY OF MIRTH AND FEALTY. Author unnoted, 148. A grand celebration of the young King Marius’ coming of age. [Link] ❖ THE HAENSETIAN ROSE FESTIVAL. Ingrid of Ulgaard, 199. First recorded instance of a large event hosted by a Haeseni Queen. [Link] ❖ BAROVIFEST, THE DAY OF SERFS OR THE DAY OF ALL SOULS. Otto the Tarcharman, year unknown. A survey of the holiday called Barovifest, observed in honour of the harvest. [Link] ❖ THE DANCE OF FURS. Helena Ruthern, Tatiana Barbanov, 221. An event that popularized the donning of furs in Hanseti-Ruska. [Link] ❖ MELEE OF 1678. Author unnoted, 231. Celebrates the centennial anniversary of kingdomhood. [Link] ❖ Autumn Solstice Costume Ball. Robert I, Emma Ludovar, Analiese Bihar, year unnoted. First recorded costume ball in Haeseni records. [Link] ❖ The Copper Jubilee. Emma Ludovar, 255. Jubilee commemorating twenty years of Robert I’s reign. [Link] ❖ The Festival of St. Tobias: Seasonal Calendar. Emma Ludovar, Petrysa Ludovar, year unnoted. Early observance of the Festival of St. Tobias. [Link] ❖ Festival of Wiekley Sigmundi. Author unnoted, 280. First recorded festival celebrating the Exalted Sigismund. [Link] ❖ THE HAESENI SILVER JUBILEE. Maya of Muldav, Markus Kortrevich, Andrik IV, Georg Alimar. 6th of Vzmey ag Hyff, 296.A celebration to commemorate a twenty-five year reign of Andrik III. [Link] ❖ THE TRICENTENNIAL OF EXALTED SIGISMUND. Author unnoted, 299. A mass commemorating three hundred years since the ascension of Exalted Sigismund. [Link] ❖ THE BICENTENNIAL HAESENI FAIR. Viktoriya of Metterden, Eleanor of Sunholdt, Boris var Ruthern, and the Queen’s Council, year unnoted. A celebration in observance of two-hundred years since Hanseti-Ruska’s establishment as a Kingdom. [Link] ❖ THE RUBY MASQUERADE. Isabel of Valwyck, Belladonna d’Amato, Henriette Marna de Rafal, 17th of Vzmey ag Hyff, 339. A Haeseni ball hosted to honor the newly anointed Empress, Anne I. [Link] ❖ THE CROWS’ INDEPENDENCE REVELRY. Isabel of Valwyck, 13th of Msizta ag Dargund, 339. The very first celebration of Haeseni independence. [Link] ❖ VASILAND HIGHLAND GAMES. Author unnoted, 340. The first recorded instance of the Haeseni Highland Games. [Link] ❖ INVITATION TO THE WOMEN OF HAENSE. Isabel of Valwyck, Charlotte Baruch, Marcella Barclay, year unnoted. The first recorded gathering of the Women’s Society (Czensz Osrand) of Hanseti-Ruska. [Link] ❖ THE LADY OF HANSETI-RUSKA COMPETITION. Rosalind Amador, year unknown. First recorded pageant of the royal courts. [Link] ❖ SILVER JUBILEE OF KOENG JOSEF I. Isabel of Valwyck, Wzuvar ag Byvca, 356. A jubilee hosted to celebrate the twenty-five year reign of Josef “The Liberator”. [Link] ❖ 25TH ANNIVERSARY OF HAESENI INDEPENDENCE. Mariya of Aurveldt, Heinrik II, year unnoted. [Link] ❖ A SESTERCENTENNIAL CELEBRATION. Annika of Reza, Tatiana Kortrevich, Tov ag Yermey, 397. A celebration commemorating 250 years since the Kingdom’s founding. [Link] ❖ The Anniversary of Independence. Emma of Jerovitz, year unnoted. The celebration of the first Saint’s Year of Haeseni Independence. [Link] ❖ VE ARANY JUBILEE. Emma of Jerovitz, 400. Celebration of fifty years since the formation of the Women’s Society (Czensz Osrand) of Hanseti-Ruska. [Link] ❖ A Rose Soirée. Emma of Jerovitz, 415. Celebration of the Karenina Accord, the law that granted Haeseni heirs equal primogeniture. [Link] ❖ The Royal Silver Jubilee. Emma of Jerovitz, Vzmey ag Hyff, 418. A grand celebration of the 25 year reign of Sigismund III and Emma of Jerovitz. [Link] ❖ The Golden Age. Emma of Jerovitz, 420. A feast commemorating the victory over Oren at Eastfleet and the King and Queen's fiftieth namedays. [Link] ❖ CENTENNIAL OF INDEPENDENCE. Amadea of Susa, 14th of Tov ag Yermey, 438. Celebration of one century of Haeseni independence. [Link] ❖ THE JORSKDAG FESTIVAL. Amaya of Venzia, 15th day of Jula ag Piov, 472. First recorded observance of the Scyfling holiday of Jorskdag, celebrating the coming of spring and the union of St. Joren and St. Tara. [Link] ❖ THE HAESENI LORDS’ FESTIVAL. Amaya of Venzia, 4th of Jula ag Piov, 489. An open street festival which encouraged the intermingling of all noble houses and celebration of their inherited cultures. [Link] ❖ THE SESQUICENTENNIAL INDEPENDENCE. Amaya of Venzia, 3rd of Tov ag Yermey, 495. Celebration of three centuries’ Haeseni independence. [Link] ❖ KHOVALAFEST. Amaya of Venzia, 6th of Wzuvar ag Byvca, 495. An autumnal equinox festival most notable for its encouragement of the resurgence of archaic Haeseni folklore practice. [Link] ❖ A NIGHT OF FROZEN REVELRY. Amaya of Venzia, Liridona Amador, 14th of Tov ag Yermey, 497. A ball notable for its occurrence during the Unending Blizzard. [Link] ❖ A SIGMUNDIC FAST. Mother Vivienne, Amaya of Venzia, 498. A religious fast observed to commemorate the approaching celebration of 500 E.S. [Link] ❖ THE FIVE GOLDEN DAYS: IN CELEBRATION OF 500 ES. Amaya of Venzia, Roslin Baruch, 4th of Jula ag Piov, 499. A grand five-day celebration of 500 years since the ascension of the Exalted Sigismund. [Link] ❖ THE BROTHERHOOD BALL. Amaya of Venzia, Aithwin Aldor, 506. A charity gala hosted by the Queen to fund the war effort against Veletz. [Link] ❖ THE BREAKWATER VICTOR'S BALL. Amaya of Venzia, Esmeray Luceran, Deia, 13th of Joma ag Umund, 506. The second iteration of the Brotherhood Ball, this time celebrating the Haeseni victory over Breakwater Keep. [Link] ❖ THE SILVER JUBILEE OF 507. Esmeray Luceran, 17th of Jula ag Piov, 507. A grandiose celebration of Aleksandr and Amaya's twenty-fifth year of reign. [Link] ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, Thurant, Venzia and Astfield, Lady of the Westfolk, et cetera His Excellency, FABIAN OTTO D’ARKENT-KORTREVICH, Grand Lord of Hanseti-Ruska

✧──────────────⊱🜂⊰──────────────✧ VOLUME I BEHAVIORS AND PRACTICES RECENTLY OBSERVED BY THE HAESENI PEOPLE ISSUED BY THE ON THIS 7TH DAY OF TOV AG YERMEY OF 497 E.S. ✧──────────────⊱🜂⊰──────────────✧ Since the Kingdom of Hanseti-Ruska split from the Empire, the Haeseni people have observed a steady ascent in Highlandic solidarity. As a new dawn sheds light upon this golden era of Northern culture, it is widely believed that the heart of the Highlanders beats strongest in Haense, for it is here that their heritage finds its most profound expression. Within Haense lies the ruby of the North - the Royal City of Valdev, where this cultural renaissance has taken root; a a place where the legacies of our ancestors intertwine with the aspirations of our present and propel our culture forward. Following the ascension of Queen Amaya of Venzia, a number of behaviors observed in the Courts have notably shifted. Her Majesty’s Esrova Prikaz Court, nestled within the heart of the Kingdom, has shed many customs of the yesteryears, giving way to a unified social sphere where the guiding ethos is one of unity among the diverse Highlandic cultures of Hanseti-Ruska. In light of this, a vibrant culture thrives - one that celebrates the traditions, languages, and beliefs of past and present that define the essence of Haeseni heritage. This newfound spirit of camaraderie has since breathed new life into the Courts. Yet, it would be remiss not to acknowledge the enduring influence of past figures such as Queens Annika Anastasija, Emma Karenina, Amadea Ulyssa, and Sofiya Camila who have etched their indelible mark upon Haeseni culture. Their legacies have endured through the ages, each contributing to the rich medley of Haeseni heritage and history. It is because of them, and many other forefathers of yore, that we continue to observe and practice the beloved traditions that define Haeseni culture to this day. ✧──────────────⊱🜂⊰──────────────✧ I Within Haeseni culture, communication is highly regarded, and it is essential to speak truthfully while maintaining a sense of tact. The Haeseni are well-known for their strong and honest presence and uphold these values in their day-to-day interactions. They are a resolute and hearty people, embodying the virtues of their traditions of both the past and the present. ❖ Greeting those of equal or lower status requires a more subtle acknowledgment, typically a dip of the chin. This demonstrates respect while recognizing the equality or hierarchy of one’s counterpart. Members of the Brotherhood will observe the gesture of saluting, even when off duty, to demonstrate their allegiance. It is also worth noting that in Haeseni tradition, nodding three times during a conversation is a signal for the conversation to come to an immediate end due to a lack of progress or sincerity in the exchange. ❖ When greeting a member of the Royal Family, the traditional curtsy has faded into the past, giving way to a more symbolic gesture: pressing one's fist to one's heart. This gesture signifies respect for the other’s honor, which is deeply rooted in Haeseni culture. When in the presence of the King or Queen, individuals may choose to kneel or bow as a display of reverence, a practice equally applicable to both men and women. However, a fist pressed to one’s heart typically suffices in an informal setting. ❖ Within Her Majesty’s Court, idle gossip is strongly disapproved of, and any issues should be addressed directly with the individuals involved. In the modern age, the Esrova Court has since encouraged forthright communication, promoting honesty and transparency within all social settings. If one believes their honor has been tarnished within the Court, a duel of wit or skill may be authorized by the Queen, while duels of combat may only be permitted by the King in accordance with Haeseni Law. The people of Hanseti-Ruska place great significance on the subtleties of addressments, employing them as a means to exhibit respect and reinforce the honor of their Haeseni counterparts. This practice is especially significant in public settings, wherein individuals will address their counterparts with either a formal or informal titular address, depending on the nature of their relationship. In the public eye, the choice of address is a deliberate one. Close friends may opt for an informal address; in contrast, it is customary to employ a formal address when interacting with strangers or mere acquaintances. Conversely, within the confines of a private setting, a certain degree of flexibility is allowed, primarily for members of the Royal Family. In the presence of family members or exceptionally close friends, Royals may grant permission for the use of their first names. Lords and Ladies, on the other hand, maintain a consistent mode of address, both in public and private spheres. In recent times, it has been observed that Haeseni nobles prefer to utilize their first names in most circumstances, spare for formal settings. The following is a compiled list of appropriate addresses for individuals of varying standings, inspired by the works of the Grand Lady, Rosalind Amador, HRM, Queen Maya of Muldav, and HRH, Princess Sofiya Theodosiya: ❖ THE KING | VE KOENG Formal Address: “Your Royal Majesty” Informal Address: “Your Majesty” Alternative Greetings: “My liege” or “My King” ❖ THE QUEEN | VE KOENAS Formal Address: “Your Royal Majesty” Informal Address: “Your Majesty” Alternative Greetings: “My Queen” ❖ GRAND PRINCE or GRAND PRINCESS | VE HAUCHPRINZEN or HAUCHPRINZENAS Formal Address: “Your Serene Highness” Informal Address: “Your Highness” Alternative Greetings: “My Prince/Princess” ❖ PRINCESS ROYAL | VE PRINZENAS ROYAL Formal Address: “Your Serene Highness” Informal Address: “Your Highness” Alternative Greetings: “My Prince/Princess” ❖ PRINCE or PRINCESS | PRINZEN or PRINZENAS Formal Address: “Your Royal Highness” Informal Address: “Your Highness” Alternative Greetings: “My Prince/Princess” ❖ DUKE or DUCHESS | HERZEN or HERZENAS Formal Address: “Your Grace” Informal Address: “Your Lordship/Ladyship” Alternative Greetings: “My Lord” or “My Lady” ❖ COUNT or COUNTESS | KOMIT or KOMITAS Formal Address: “The Right Honourable” Informal Address: “Your Lordship/Ladyship” Alternative Greetings: “My Lord” or “My Lady” ❖ VISCOUNT or VISCOUNTESS | VIKOMIT or VIKOMITAS Formal Address: “The Honourable” Informal Address: “Your Lordship/Ladyship” Alternative Greetings: “My Lord” or “My Lady” ❖ BARON or BARONESS | BOSSIR or BOSSIRAS Address: “Your Lordship/Ladyship” Alternative Greetings: “My Lord” or “My Lady” ❖ MEMBERS OF THE AULIC COUNCIL Address: “Your Excellency” ✧⊱🜂⊰✧ II Another observable shift in Haeseni culture is the lax nature of banquets and feasts. Dining and feasting hold a special place in modern Haeseni culture, fostering a jovial and easygoing atmosphere for all in attendance. ❖ At the heart of these gatherings, the head of the house or the reigning monarch takes their place at the head of the table. Before the first morsel touches anyone's lips, it is imperative that a prayer is uttered, invoking blessings for the meal and those partaking in it. This ritual is particularly significant during formal banquets, wherein a priest blesses both the Carrion Black and the meal. ❖ A noteworthy aspect of Haeseni dining is the encouragement for both men and women to finish their meals. If they find themselves unable to do so, they are encouraged to take the leftovers home, as wasting food is seen as disrespectful to the host and demonstrates unnecessary wastefulness. This emphasis on eating well is rooted in the belief that maintaining one's strength is of utmost importance. ❖ In years past, there were many restrictive protocols on the dining habits of unmarried women, especially in the presence of men unrelated to them– in fact, Haeseni women were oft permitted only to drink wine and ‘waft’ their meals unless the head of their household was of a higher standing than the rest gathered at the feast. In the modern Haeseni era, these restrictions have dissipated into the past. At feasts, it is now observed that all guests, regardless of one’s gender or status, are free to begin eating once the host has taken their first bite. ✧⊱🜂⊰✧ III I. THE VEREVKA BELT Despite the recent shifts in Haeseni culture, there are several time-honored traditions that continue to hold significant importance in the realm of courtship and engagements. One such tradition is the Verevka belt, which continues to be observed to this very day. This belt, made of ivy and twine gathered from the forest, serves as a symbol of engagement and, in some cases, even replaces the conventional engagement ring. It is a treasured symbol that signifies the bond between the engaged couple. II. THE CELEBRATION OF JULIYAFEST The heart of courtship and proposals in Hanseti-Ruska shall lie in the enchanting holiday known as Juliyafest. This designated time is considered the most appropriate for the initiation of courtships, although betrothals can be arranged at any point throughout the year. Juliyafest itself is a grand and elaborate celebration hosted to commemorate St. Juliya, the patron saint of matrimony and mothers. Spanning three months, it typically includes a grand tourney, a masquerade ball, a celebration dubbed ‘St. Juliya’s Companions,’ wherein attendees will gather in the Prikaz with their intended, and, finally, a couple’s hunt to conclude the festivities. III. BETROTHAL FEASTS Another custom observed to this day is the betrothal feast, in which the lady’s suitor is served either Lok (cooked goat intestine filled with pork) or Erkindelir (boiled pig heart) at the conclusion of the grand banquet. To receive the presentation of Lok is to signify approval of the union from the respective patriarch or matriarch of the household, whereas Erkindelir conveys a distinct disapproval. If served with uli (a spiced cream sauce), the suitor is entirely forbidden from seeing the lady in question. IV. THE HAUCHMETVAS Another noteworthy celebration that has endured the test of time is the Hauchmetvas, a coming-of-age tradition observed within Haeseni culture today. A Lady’s Hauchmetvas signifies this momentous passage into adulthood and is a privilege typically reserved for the eldest daughter of the mainline. The debutante first bids farewell to her childhood by consigning three old belongings to the flames of a bonfire, signifying the transition from childhood to adulthood in a ceremony known as the Burning of Age. Soon thereafter, the debutante is bestowed a wreath of flowers, each carrying a unique meaning that speaks to the lady's character and aspirations. Most notably, Haeseni debutantes are known to don red at these celebrations due to the color’s storied association with love, courtships, and betrothals. Superstitions have long held a significant place within Haeseni culture, spanning multiple centuries. In matters of love and the pursuit of a suitable match, the Haeseni have always sought the favor of Godani, placing faith in the omens that He presents before them. Thus, these traditions and superstitious beliefs that the Haeseni entertain shall fend off any ill omens or malevolent spirits that may linger. I. BETROTHAL FEASTS ❖ The ability to stomach Lok during a betrothal feast holds immense significance, symbolizing the presence of good or bad luck in a forthcoming marriage. Should a suitor fail to keep the Lok down, the union is surely doomed to fail. ❖ Once the plate is cleaned of Lok, the families of the prospective bride and groom will smash their plates against the floors and walls, a practice aimed at banishing any lingering spirits that might dare to encroach upon the couple’s union. II. MATRIMONY ❖ Another intriguing tradition observed in recent years involves the nationally favored Carrion Black. Here, the newlyweds are presented with bottles filled with Carrion. Each set of parents bestows a bottle and prompts the couple to drink. Once emptied, the couple shatters them, signifying their hopes for a long and joyous marriage. The number of shards created is believed to foretell the length of the couple's union. ❖ The superstitions surrounding the wedding day extend beyond the ceremony itself. Historically, Haeseni brides are cautioned against changing their shoes on their special day, as doing so is believed to symbolize a lack of loyalty to their partner. It is said that if one cannot remain faithful to the same pair of shoes on the day of their wedding, their fidelity may waver in more significant matters. ❖ The presence of crows holds great significance in the life of any Haeseni. Three crows sighted signify an upcoming wedding, whereas the sighting of four crows presents the auspicious sign of a birth. ❖ Rice and barley are tossed upon the bride and groom to symbolize fervent prayers for fertility and abundance in the couple's life together. ❖ To gift someone yellow flowers is to insinuate a grave accusation akin to calling them an adulterer. It is a gesture laden with implications of unfaithfulness and should never be bestowed upon a newly wedded couple. III. THE HAUCHMETVAS ❖ The pursuit of love and companionship is not exempt from superstition in Haeseni culture. A striking belief dictates that a Lady who does not don the color red upon the eve of her Hauchmetvas will hinder her ability to find a suitable match due to the sheer significance of the color’s meaning. ❖ As an added charm, carrying an acorn in one's pocket during the Hauchmetvas is believed to promote youth and luck in the quest for a match. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, Thurant, Venzia and Astfield, Lady of the Westfolk, et cetera His Excellency, FABIAN OTTO D’ARKENT-KORTREVICH, Grand Lord of Hanseti-Ruska Firr, IOSIF BYCHKOV, Ward of the Palace Custodian

♪♪♪ THE OFFICIAL ESTABLISHMENT OF A COLLABORATION BETWEEN THE OFFICE OF THE ASTRONOMER AND CURATOR OF THE CROWN JEWELS ISSUED BY THE ON THIS 2ND DAY OF TOV AG YERMEY OF 491 E.S. ✧──────────────⊱🜂⊰──────────────✧ n the realm of celestial wonders and terrestrial marvels, the Haeseni Zodiac has emerged as a captivating nexus where astronomy and cultural symbolism converge. The Office of Astronomy, in collaboration with the esteemed Curator of the Crown Jewels, proudly presents a groundbreaking study that delves into the enchanting realm of the newly refined Haeseni Zodiac and its associated birthstones. This collaborative effort unearths the age-old connection between the stars above and the precious stones cherished by the people of Haense, forging an intricate tapestry of cosmic narrative and earthly tradition. With meticulous research and a fusion of astronomical insight and historical lore, this study casts light upon the profound significance of these birthstones, inviting us to embark on a journey of discovery that spans the boundless expanse of the universe and the depths of human heritage. Join us as we unravel the secrets woven into the fabric of the Haeseni Zodiac and explore the timeless link between the heavens and the gems that adorn our lives. ✧──────────────⊱🜂⊰──────────────✧ I Nikul, the Silver Moon | Wzuvar ag Byvca MOONSTONE A depiction of The Moon constellation, drawing its name from its revolution around the celestial body. oonstone is a captivating gemstone known for its ethereal and mesmerizing appearance. It is often associated with the moon due to its play of light, which resembles the moon's soft and radiant glow. Moonstone is believed to have metaphysical properties related to promoting emotional balance, intuition, and protection. Just as Nikul, revered as the moon and a protector, stood against his own family for the sake of humanity, moonstone symbolizes protection and guardianship. Moonstone's connection to the moon ties into the description of Nikul's reverence as the moon and the sacred winter season. The gemstone's reflective and nurturing qualities align with the content and pleasing nature of those born under this zodiac sign. Moreover, the susceptibility to manipulation described in the zodiac sign's traits might find resonance with moonstone's energy. Moonstone is often associated with emotional sensitivity and intuition, which can sometimes lead individuals to be influenced by external factors. This sensitivity, while a strength, can also be a vulnerability if not harnessed wisely. Ultimately, Moonstone emerges as an apt and resonant gemstone for this zodiac sign, embodying not only the symbolism of the moon but also offering protective attributes, emotional equilibrium, and reflecting the inherent characteristics associated with individuals born under this sign. These encompass their serene disposition, innate contentment, and the awareness of their susceptibility to external influences. ✧⊱🜂⊰✧ II Morrighein, Lady of the Moon | Jula ag Piov AMETHYST A depiction of The Queen constellation. methyst is a captivating purple gemstone that has been historically associated with qualities such as wisdom, spiritual insight, and self-sacrifice. The regal and mythical nature of Morrighein, the Mythical Queen of the Hinterlands, and her willingness to sacrifice herself for the life of her son align with the symbolism of amethyst. The deep violet hue of this amethyst has long been associated with royalty and nobility in Southern cultures, influencing modern interpretations of the color in Haeseni mythology, making it suitable for a queen-like figure such as Morrighein. The gemstone's connection to spirituality and wisdom resonates with the fifty-year golden age that she led and her role as a leader. Furthermore, the amethyst's reputation for enhancing spiritual insight and intuition aligns with the altruistic and selfless nature of those born under her sign. Individuals who exhibit these traits often possess a strong sense of empathy and a desire to make a positive impact on others, even at the cost of their own well-being. The mention of not carrying the same regard for their own health and well-being implies a tendency toward self-sacrifice, which can be linked to amethyst's symbolism. Amethyst is often associated with selflessness and the willingness to put others' needs before one's own, mirroring the sacrifices made by Morrighein. Amethyst is a suitable gemstone choice for the zodiac sign associated with Morrighein due to its regal symbolism, spiritual insight, self-sacrifice, and alignment with the qualities of leadership, altruism, and selflessness described for individuals born under her sign. ✧⊱🜂⊰✧ III Ybis, the God of Courage and the Black Comet | Vzmey ag Hynk OBSIDIAN A depiction of The Comet constellation. bsidian is a volcanic glass that has a rich black color and a sharp, glassy appearance. This gemstone is often associated with transformation, protection, and inner strength. The dual nature of Ybis, transitioning from a God of Courage to the Fallen Comet with a malevolent purpose, mirrors the duality and contrasting qualities of obsidian. The black color of obsidian symbolizes both darkness and hidden potential. Ybis's transformation from a revered patron deity to an anti-god signifies a profound shift in his nature and purpose, which parallels the transformative properties of obsidian.As the God of Courage, Ybis represented bravery, determination, and protection, which align with the protective qualities attributed to obsidian. Warriors and soldiers sought his intervention for courage in combat, making obsidian's association with protection and strength relevant. The gemstone's sharp and cutting nature could also symbolize the ruthless and stubborn traits of those born under Ybis's sign. Individuals born under his sign, described as unwilling to relinquish beliefs or duties, can be likened to the unyielding nature of obsidian. Furthermore, obsidian's ability to reveal truths and provide insight into one's inner self correlates with Ybis's transformation and his malevolent purpose. The gemstone's reflective properties could symbolize the introspection needed to understand one's dual nature and make choices that align with their true self. ✧⊱🜂⊰✧ IV Kostana, the Southern Wind | Gronna ag Droba CITRINE A depiction of The Wind constellation. itrine is a vibrant and sunny yellow gemstone known for its association with positive energy, abundance, and joy. The description of Kostana as the herald of spring rains and summer heat, along with her joyful announcement of the arrival of summer, resonates with citrine's bright and sunny attributes.The sunny yellow color of citrine reflects the warmth and radiance of the summer season that Kostana represents. Just as Kostana's trumpet call signals the transition from spring to summer, citrine's cheerful color embodies the feeling of summer's vibrancy. The qualities of beauty and captivation mentioned in the description align with citrine's ability to draw attention and light up its surroundings. Individuals born under Kostana's sign, described as exuding beauty and captivating attention, could find resonance with citrine's energetic and captivating aura. Additionally, the trait of vanity mentioned could relate to citrine's symbolic representation of self-confidence and empowerment. Citrine is often associated with boosting self-esteem and encouraging a positive self-image, which can contribute to the confident nature of those born under Kostana's sign.The gemstone's connection to abundance and positivity can also be linked to the mention of prominent religious and political figures finding confidence in being born under Kostana's blessing. Citrine's energy of abundance and success may reflect the impact and influence that individuals born under this sign might achieve. ✧⊱🜂⊰✧ V Haruthrow, the Minstrel-Wanderer | Tov ag Yermey AQUAMARINE A depiction of The Wanderer constellation. quamarine is a beautiful blue-green gemstone that is often associated with soothing energies, creativity, communication, and a sense of tranquility. The description of Haruthrow as the Minstrel-Wanderer, inspiring creativity and fostering amicable relationships, resonates with the qualities of aquamarine.The blue-green color of aquamarine reflects the calming and soothing influence that Haruthrow might have, especially considering his association with joyous and mirthful occasions. Just as invoking prayers for Haruthrow was customary to bring about joyful celebrations, aquamarine's tranquil energy can contribute to a harmonious and joyful atmosphere. The gemstone's connection to communication aligns with Haruthrow's role as a minstrel and wanderer. Individuals born under his sign, described as possessing innovative ideas and a charismatic presence, could find resonance with aquamarine's ability to enhance communication skills and foster open dialogue. Aquamarine's association with creativity is also relevant to Haruthrow's patronage of creative endeavors and his ability to inspire those around him. The gemstone's calming influence might facilitate a balanced approach to creativity, promoting innovative thinking without becoming overwhelmed.Furthermore, aquamarine's connection to the sea ties into the wanderer aspect of Haruthrow's nature, symbolizing the vastness of possibilities and the journey of exploration. ✧⊱🜂⊰✧ VI Odrin, The Hero of Man | Msitza ag Dargund CARNELIAN A depiction of The Hero constellation. arnelian is a reddish-orange to reddish-brown gemstone known for its energies of courage, strength, and vitality. The description of Odrin as the Hero of Man, facing his father in a duel, gathering an army, and achieving a decisive victory over his uncle, resonates with the qualities of courage and bravery associated with carnelian. The reddish tones of carnelian reflect the fire of Odrin's bravery and determination. Just as he courageously faced his own father and his treacherous uncle, carnelian's vibrant colors symbolize the fiery energy needed to confront challenges head-on.The gemstone's connection to strength aligns with Odrin's ability to overcome obstacles and lead an army to victory. Individuals born under his sign, described as exhibiting unwavering bravery in the face of challenges, might find resonance with carnelian's strength-enhancing properties. Additionally, the mention of occasional foolishness and hastiness could be counterbalanced by carnelian's grounding and stabilizing energies. Carnelian is believed to promote a sense of focus and determination, helping individuals make well-informed decisions even in the midst of challenges. Carnelian's association with vitality and life force might mirror the resilience and energy displayed by Odrin in his heroic endeavors. Just as he took matters into his own hands to achieve victory, carnelian's energetic properties could symbolize the determination to seize control of one's destiny. ✧⊱🜂⊰✧ VII Pisktro, The Queen of the Sea | Joma ag Umund PEARL A depiction of The Sea constellation. earls are organic gemstones formed within the depths of the sea. Just as Pisktro is the Queen of the Sea, pearls are birthed from the ocean's depths, making them a symbolic choice. Pearls are often associated with purity, wisdom, and serenity, which align with Pisktro's role and the traits of those born under her sign. The gentle, iridescent luster of pearls reflects the serene composure and tranquil demeanor attributed to individuals born under Pisktro's sign. Just as Pisktro holds authority over the oceans with grace, pearls embody a sense of elegance and calmness. Pearls are known for their association with wisdom and insight, resonating with the remarkable wisdom described for those born under Pisktro's sign. Much like the goddess who rules over the seas with authority, pearls exude a sense of regal grace and wisdom. The offering of sacrifices by sailors and fishermen to seek Pisktro's favor mirrors the reverence for pearls throughout history. Pearls have been treasured as symbols of protection and blessings from the sea, aligning with Pisktro's influence over aquatic beings and tranquil waters. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, Thurant, Venzia and Astfield, Lady of the Westfolk, et cetera Her Royal Highness, PRINCESS MISCHA FLORENTINA, Princess of Haense, Duchess of Greywyn, Court Astronomer Her Highness, Verónica Isabella Weiss, Princess of the Viceroyalty of Hyspia, Viscountess-Consort of Novkursain, Baroness-Consort of Zvaervauld, Curator of the Crown Jewels

✧──────────────⊱🜂⊰──────────────✧ THE METHOD AND MEANING OF DONNING FURS ISSUED BY THE ON THIS 6TH DAY OF JULA AG PIOV OF 491 E.S. ✧──────────────⊱🜂⊰──────────────✧ OLLOWING THE INCREASINGLY MULTICULTURAL reigns of His Majesty, Georg I and Queen Sofia of Hyspia, as described in previous Volumes of Krotyav i ve Edlervik, the explosion in the variety of people that have filled the Esrova Prikaz with warmth has not gone unnoticed. These publications from the Office of the Wardrobe seek to highlight the vibrant and beloved diversity among the Haeseni populace; with this particular piece dedicated to the record of all usages of Haeseni furs - both innovative and traditional alike. Naturally, the migration to Aevos brought the Kingdom of Hanseti-Ruska to a more temperate climate than that experienced upon the continent of Almaris, albeit the brisk cold of Northern winters linger nonetheless. As a result, the adornment of furs has generally shifted in a more tastefully decorative direction in Valdev than the mortal necessity to wear pelts due to the frigid, and sometimes inhospitable, temperatures of Karosgrad. However, the exodus of Almaris brought King Aleksandr II and his Consort, Amaya of Venzia, to the throne. Under Queen Amaya’s guidance, and that of her Koravian Grand Lord, Fabian d’Arkent-Kortrevich, furs have since seen a sharp resurgence as a staple of Haeseni clothing – in part due to the pair’s desire to display and bolster the nation’s Northern roots. Nonetheless, the Queen-Dowager Sofia of Hyspia’s influence remains undiminished; with certain hides being a cornerstone of her own birth-House’s style. This is not to attribute the prominence of furs in entirety to the Crown, as many different cultures and groups of people subsist within the Dual-Kingdom – sharing their own beliefs and practices regarding pelt adornment – but it is to highlight the striking variation and provide suggestions that may explain the Haeseni fascination with donning furs. ✧──────────────⊱🜂⊰──────────────✧ I TRADITIONALLY, WEARING FURS HAS has been a luxury of the wealthy, and necessity of the poor, to cope in the frigid Haeseni climate. For instance, the royalty and nobility are often at liberty to accentuate their attire with excessive quantities of pricey furs in order to boast their wealth, whereas the peasantry and gentry can often ordinarily only afford the bare essentials to keep warm with regards to fur quantities and stylings. FUR LININGS ARE THE simplest form in which furs have been adorned upon clothes, as they are the most practical weapon used to combat the Haeseni climate. Animals have fur to shield them from the freezing temperatures - among other things - and the hardy citizens of Hanseti-Ruska have adapted to replicate this tactic by lining their clothes with the furs harvested from these same native fauna. Fur is also, when not utilized in this way, a waste product from the animal and would be discarded if not capitalized on. Fur linings have, however, developed to become integrated into the constantly shifting fashion habits of the Haeseni, and are at present often apparent in hats, shoes, and when lining the insides and edges of clothes. This is usually both decorative and functional, as a fur lining may emphasize the border of a certain garment [₁] whilst simultaneously providing extra insulation to protect the wearer from the bitter climate. TYPICALLY RESTRICTED TO ONLY the noble and royal classes due to the excess expense, shoulder drapery is usually a superfluous addition to any configuration as it adds little internal padding and is moreso for appearances, unless utilized in place of a fur scarf or shawl. Shoulder drapery is more popular among males than females, as it likens the appearance of wide shoulders and is also a common feature on plated armour; attire worn bounteously more by men. Additionally, furry shoulder drapery can be as a hood or layer of a cape; a popular style being to adorn a slain beast as a trophy cloak by tenacious warriors [₂]. IN CONTRAST, FUR COATS are an optimised marriage of both fur linings and shoulder drapery as they are effective at insulating the wearer in harsh weather conditions, and they are typically more attractive than a mere fur lining. Fur coats also have added convenience when compared to other options, as a coat can be removed when indoors and can be worn with multiple outfits as required. However, fur coats are significantly more expensive than any other option due to the sheer increase in quantity of pelts required to make any single coat. 1] Cut/Styled sleeves, Outer vest, Hat rim, Collar, etc. 2] Houseguards, Military Soldiers & Officers, Knights, etc. ✧⊱🜂⊰✧ II IT CAN BE IMPORTANT to acknowledge not only how one wears their furs, but also which kind of pelt an individual dons at certain gatherings, as connotations regarding one’s social status, honour, character, profession, and even romantic intentions may differ depending on the creature the pelt was derived from. For example, affluent individuals are typically more able to afford exotic, hard-to-catch, or specially-prepared pelts. Meanwhile, the lower classes are frequently spotted using the pelt of an animal that they encounter in their place of work or as a facet of their job, and is it, more importantly, often of a lower quality. Moreover, among certain game and tame species, the colour of the hide can affect its meaning also. DONNED REYNARD FUR ASSUMES a multifaceted significance, immensely dependent upon colour and context. Those who choose to don Reynard fur in red or grey are often indicated as individuals who consciously exude their own intellect and shrewdness. This choice of fur becomes a subtle, albeit discernible declaration of the affinity for the individual’s cunning nature; an artistic homage to the traits of the fox. Moreover, when presented as a gift, the fur takes on an intriguing undertone of passive-aggression, insinuating the existence of hidden knowledge or suggesting a subliminal vulnerability of the receiver. This gesture alludes to the status of foxes as a secondary species of prey. Alternatively, the bestowment of this fur to a lover carries a different connotation, one of deep affection. Additionally, when the pelt adopts a white hue, the fur serves as an emblem of Northern pride. The addition of any white fox pelt to one’s attire is all the more coveted due to the Grand Lord’s preference for it. THE EMBELLISHMENT OF CANID fur holds a significant place within Haeseni society, most notably embodying a symbolism that resonates with strength, the prowess of the hunter, and exemplary leadership. To don the fur speaks indirectly to one’s power, position, or both– as it is commonly seen worn by soldiers of mixed standing upon the BSK hierarchy. This is linked to the wolf’s encapsulation of the valor of the hunter and leader of the pack. Just as the alpha of a pack guides its kin with wisdom and forethought, so too does the wearer steer the group with their prescience and sagacity. Often does it pay homage to their ability to lead: not through brute force alone, but also through an innate understanding and instinct they seem to possess. MOOSE FUR IS MOST often seen donned by the men of Hanseti-Ruska, as it has prevalent associations with masculinity and immense strength. Yet, the narrative of moose fur is not entirely bound by tradition, as the sight of today’s women gracing themselves with the pelt is far more frequent. Distinguished lady soldiers and accomplished huntresses, driven by the same sense of vigor, now find resonance in the symbolism of moose fur. This evolution of tradition underscores the shifting roles and traditions of Haeseni society – broadening the avenues through which strength and honor manifest for both men and women alike. STAG HIDE HOLDS A predominant position compared to other coveted animal furs, primarily owing to its revered association with the concept of kingship. This stems from the symbolism attributed to the stag’s antlers, as they are associated with a resemblance to the crown worn by the King. Notably, the esteemed status of the stag is additionally underscored by the tradition that prohibits hunting stag without the King’s company. It is because of this, that the utilization and adornment of stag hide is reserved for the King himself, or an individual who serves him closely, such as his Queen-consort or one of his most valued advisors. PRIZED FOR ITS PRACTICALITY, bear fur offers solace in its warmth, combatting the mild chill of Valdev with ease. Yet, beyond its utilitarian virtue, this addition to one’s attire holds a myriad of symbolisms. Ursid fur is often donned by the wearer as a display of unyielding strength and unwavering endurance. Furthermore, the adornment of the fur is also a proclamation of valor and one’s honor. Worn in acknowledgement of an adversary conquered, it nods to those who have shown themselves to be formidable foes. Ursid fur also stands as a note of heraldry due to the symbolism that the bear holds within the House of Baruch; thus, this pelt bears a significant historical connotation within the esteemed Ducal House and is most seen donned by its members. IT IS OF NO surprise that the fur of the beaver is known for its water-repellent qualities. With the hardy creature residing within freshwater habitats, it is only sensible to assume that the coat of the beaver is well adapted to its choice of home. Combined with its long top-coat and dense under-coat, these two properties create a hide perfect for the wintry Haeseni climate. Beaver hide, however, is not reduced to the ranks of simple coats or cloaks; the pelt is versatile, and is more often than not utilized in hats or other statement pieces upon one’s garb. Moreover, the beaver’s hide is commonly associated with an industrious and hardworking soul and, despite its status as a luxury component, it is frequently gifted and worn in the garb of those practicing naturalism or homemaking due to the beaver’s association with such traits. THE USE OF WOOL in Haeseni fashion is a time-honored tradition that speaks to both humility and practicality when donned in its rawest form. When utilized in more formal attire, however, the wool is usually dyed and woven in correspondence with the color codes of the Haeseni Court. Although fleeces are more commonly associated with the servility and humble origins of the shepherd that raises the sheep, wool can easily be manipulated to represent a number of more complex ideals according to any combination of colours. GOAT HIDE IS WORN often in its raw form, much akin to sheep wool or leathers. The hide, notably, serves as a testament to the heritage and affiliations of the Scyflings, particularly members of House Colborn. Naturally, goat pelt has risen in popularity given the impressive repute of Baroness Elia Colborn-Stafyr who was especially fond of it, and whose celebrity preceeded the first Scyfling-born Queen taking the throne, Amaya of Venzia, also favouring it. This prominence among Scyflings is due to the customary practice of rearing goats in Scyfling groups. Goat-rearing is popular among all Scyfling sects – as such, the donning of goat hide is common among royalty, nobility, houseguards, farmhands, and more; with the animals themselves serving not only as a producer of goods, but also as a source of conviviality and comradery. For instance, the tradition of Scyflings gifting a blonde goat at a friend’s wedding is frequently spotted. Moreover, the colour of a goat pelt can indicate a plethora of meanings. A blonde pelt signifies wealth and good fortune – a subtle proclamation of the wearer’s character and conviction. Conversely, a white or grey pelt symbolises reliability, modesty, and piety. COW HIDE, OR LEATHER, is a simple pelt employed in a substantial number of items such as hats, belts, even handbags, luggage, and more. This versatility allows leather to represent esteemed flexibility, particularly for lively and busy people. Moreover, cow hide is relatively inexpensive yet valuable, making it accessible to the lower classes for their own use in clothing and accessories, or as a remarkably lucrative commodity. In addition, leather has links to the humble cowherds and farmers that raise the cattle to adulthood, imbuing cow hide with relations to modesty and dedication. RABBIT FUR IS A rather unusual choice within the Courts, for it bears a myriad of meanings. When offered as a token of affection, rabbit fur signifies a gesture of warmth and closeness, an homage to the bond shared between individuals. However, beneath the surface of Haeseni etiquette lies the potential for a grave, albeit veiled insult conveyed through the gift of rabbit fur; the implication that the recipient is meek and incompetent – “small prey." Like the cautious rabbit, this message might subtly underscore the recipient's perceived vulnerability within the upper echelons of society. Nonetheless, the warmth that the fur of the rabbit provides marks this pelt as a practical choice for the frigid North, above all else. CAMEL HIDE, WHILE DISTINCTLY associated with the Hyspian people, was greatly popularised during the reign of Queen-Consort Sofia of Hyspia. Reportedly, to-be-Queen Sofia’s dowry amounted to 72 camels, paid by King Georg I to the Viceroy of Hyspia for his sister’s hand. Although Queen Sofia brought the prevalence of camel fur to the Capital, the hide never lost its prior associations with exoticism, novelty and peculiarity. Additionally, camel fur is consistently utilised by Southern merchants visiting the chill North to sell their wares, imbuing the pelts with mercantile and commercial connotations. Nevertheless, the character of the animal sources of camel hide have not been lost, and the adornment of camel is linked to the unending resilience and strength of these creatures that thrive in harsh environments, along with their ferrous wills, naturally insinuating that the wearer shares these traits. ✧──────────────⊱🜂⊰──────────────✧ Her Royal Majesty, AMAYA OF VENZIA, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, Thurant, Venzia and Astfield, Lady of the Westfolk, et cetera. His Excellency, FABIAN OTTO D’ARKENT-KORTREVICH, Grand Lord of Hanseti-Ruska. His Lordship, MURTAGH MATYAS AMADOR, The Protector of the Phoenix, Commander of the Amadorian Wardens, Master of the Wardrobe of Hanseti-Ruska. The Right Honourable, ANABEL ELIA COLBORN Countess of Malkovya, Viscountess of Venzia, Baroness of Bethlenen, Lady of Vorenburg, the Protector of Scyflings, Keeper of the Book, and Secretary of the Esrova Courts.

FOR THE HEARTH OF THE HOMELAND. Issued by the WARDS OF THE QUEEN On this 3rd day of Msitza ag Dargund of 489 E.S. VA BIRODEO HERZENAV AG EDLERVIK, In celebration of the rich cultural differences that grace Her Majesty’s Court, the wards of the Queen shall partake in a joyous potluck! The wards shall be overcome with the spirit of unity and appreciation for diversity. Each lady of the court, with her unique heritage and culinary prowess, is called upon to contribute a dish that represents the culinary traditions of her homeland. This celebration of cultural differences shall serve to highlight the Queen’s vision of fostering an environment of camaraderie among her wards. HER MAJESTY’S SELECTED WARDS Queen Amaya has sought out these extraordinary young women, each exhibiting unique gifts and abilities that have captured her interest. They shall be taken under the Queen's gracious wing, nurtured, and provided with the finest education befitting their station. Lady Ludvika of House Ludovar - A boisterous and creative individual, her intellect swiftly grabbed the Queen’s attention and subsequent praise. Lady Reza of House Ludovar - Much like her elder sister, Lady Reza possesses a creative and intuitive spirit that impressed the Queen. Lady Mikhaila of House Ruthern - A young girl, bearing a kind and soft spoken nature. Her shared love of Haeseni nature and creatures and willingness to learn gained the Queen’s praise. Lady Martina of House Weiss - A poised member of House Weiss who is knowledgeable in both Hyspian and Haeseni culture and has thus garnered the Queen’s approval. Lady Rosalind of House Weiss-Vuiller - Lady Rosalind’s ambitious demeanor and enthusiasm about the Courts gained the attention of the Queen, making her a natural fit for the role of the Queen’s ward. Lady Poppy of House Amador - A gentle spirit, obtaining the Queen’s favor with her kindness and charm. Lady Adelheid of House Reuss - An ambitious foreigner, her confidence to seek and enhance her education far from her realm is admired by the Queen. These seven ladies, chosen for their remarkable talents and potential, shall gather at the court of Queen Amaya, where they shall learn from the finest tutors and mentors. They shall grow in wisdom and grace, united in their journey as the wards of our beloved Queen. DLUM VE EDLERVIK AG VE BIRODAL, Her Royal Majesty, Amaya of Venzia, Queen-Consort of Hanseti and Ruska, Princess-Consort of Bihar, Dules, Lahy, Muldav, Solvesborg, Slesvik and Ulgaard, Duchess-Consort of Carnatia and Vanaheim, Margravine-Consort of Korstadt, Rothswald, and Vasiland, Countess-Consort of Alban, Alimar, Baranya, Graiswald, Karikhov, Karovia, Kaunas, Kavat, Kovachgrad, Kvasz, Markev, Nenzing, Torun, Toruv, Valdev, and Werdenburg, Viscountess-Consort of Varna, Baroness-Consort of Esenstadt, Kraken’s Watch, Kralta, Krepost, Lorentz, Rytsburg, Thurant, Venzia and Astfield, Lady of the Westfolk, etcetera His Excellency, Fabian Otto d’Arkent-Kortrevich, Grand Lord of Hanseti-Ruska Her Ladyship, Adelheid Mathilde von Reuss, Ward of Her Majesty Queen Amaya of Venzia