She’s here! Well, nearly! At first glance you will think “Annie…. did you deviate from the plan a bit there…?” heck yeah I did! But it was worth it! One of the self-imposed rules of the project is that they’re all to be single-piece casts, but trying to find a way to make these pigeons really be going for it and make it one piece was proving difficult. The reality of my drawing was some very flat, vertical pigeons. Nobody wants that!
work in progress sculpt by Alan Marsh
Annie Norman’s original concept sketch
So we accepted going multi part would work for this one, as joining “at the pigeon” is nice and easy, especially as they have the little rags of sulphur. And Olga really propelling them forward as they fly off to burn down an entire city well, it’s kinda sweet, right?
A question we frequently ask ourselves and each other is “will this make a better model?” and if yes – then go for it!
She has a few more tweaks and tidies, you can see for example the wire still on the pigeons. Yes even pigeons need an internal wire to survive the heat and pressure of the mouldmaking process! But this is pretty much how the final model will look.
The face being downwards gives the sinister, unsettling feeling that I intended, and it’s another example of being on the same page as Alan – the sculptor.
It’s also going to be really easy if you don’t want pigeons, and want to use her for something else, as you can make her be holding something else entirely or just chop off the little rag bits so she has her palms in the air. Versatile, as always!
So what next?
After the final touches have been added, Alan will ship to me Olga, Mary Read and Anne Bonny. I’ll check them over and take a few photographs, and then send to the casting company who will make a master mould. They send me some samples of the master casts, I approve (hopefully! Usually!) and then send a copy of each to our painter – John Morris.
The artist Martin Whitmore is currently working on his sketches of the three, which will then be added to the very limited edition collector fact cards. And I’ll get those to print, along with the painted image packaging once John has done his paintbrush magic.
AND THEN, they will be on their way to you!
Is she really just £5?
Yes! … for now! The first 100 of each Community Mini are price-locked at £5 but subject to change after that, so it’s more incentive to get in early. With these massive pigeons she may well end up around £8. So, while there are still some of the Collector’s Edition available, it makes way more sense to do that, right?
What’s next for Community Minis?
The long mentioned relaunch! I’m waiting until these are all out and in folk’s hands so it’s as simple as possible, a nice clean slate, and then we can vote on the next one! Woohoo!
After publishing yesterday’s design for Olga of Kyiv, I very quickly discovered that even when historical characters are over 1000 years old, sometimes modern issues and context does overlap, as you can never entirely distance…anything! Nothing happens in a vacuum (take that, space).
So I’m back to add a bit onto yesterday’s design brief. Since finishing what has felt like a mammoth task, I have since eaten ice cream and slept, which has led to a fresh brain today, where I have been continuing the research to make sure I’ve got her how I consider to be right. I can’t say “got her right” as I wasn’t there, and is there a “right”? ie, is there a way to get the thumbs up from every person – there is not – but I can get her close, maybe.
In the previous write up, I stated how I felt more out of my depth with this one than others, and that it was a lot of information and context to absorb, and then blurt back out at you. Which is true.
Monument of St. Princess Olga, 1911, Kyiv
Since yesterday, I have furthered research of the design elements and how symbols are seen in the context of the current Ukraine/Russia conflict, which has included three long phonecalls today with people who know more than I, so thank you to them.
However, there didn’t appear to be a specific design element that had caused issue, which means it’s hard to act upon, so I went over her details again. I’ve decided to keep with her design and reiterate that she was Kyivan Rus, which was before there was a Russia and Ukraine as we know them today.
The cross we are using is the same as shown on the Monument of St. Princess Olga, built and displayed in Kyiv since 1911. Our depiction is similar all around but less Byzantine influence, as I’m placing her in an earlier style to reflect her roots.
That’s all really, I wanted to let you know that we love feedback, and it all goes to making a better model, as well as the heaps of learning along the way. So never be afraid to question a part of the design, especially in this Community Miniatures Project.
Still, I prefer this method of cramming a whole load of information over simply pointing at a painting and saying to the sculptor “knock this off, mate”, because, even when many of the design elements end up similar to previous portrayals. I can confidently say how and why each part was chosen, with a deeper understanding beyond “well that looks cool”. It does open us up to more criticism but hey, that’s how we all learn; there’s no honour in being a copycat!
Thanks all as always,
I’m having a break this weekend to celebrate catching up with A LOT this week, and then I can start putting wheels in motion for the relaunch of Community Minis Project, and get those nominations going for the next minis!
When I initially read about Olga, my brain demanded flaming pigeons. Now we’re further down the line it – yeah it’s still that. There’s been a pose in mind from the very beginning, but when it comes to what she’s wearing, it’s been somewhat more difficult. To begin, do we put her in armour or a dress? If armour, what sort of armour? I now have a folder full of references of her son Sviatoslav and her husband Igor, as I imagine that if she ever armoured up on the battlefield, she would have worn similar to those two. There are no records I could find of her fighting, but she was there amongst the soldiers, so wearing protective gear just in case doesn’t seem too far a stretch.
However! For this project, the symbolic vengeful queen in gown with flaming pigeons seems better suited, and hopefully, not too far in the future, we can have a bonus Olga fighting with a big old sword and mailled up. If you’re good. By good I mean buy this one, and I’ll consider the latter if she flies off the shelves.
If you haven’t yet, you can read a bit more about her on the research post.
So, how is she portrayed?
Saint Olga (Stepennaya kniga, 1670)Kievan Rus ruler Olga by Fedor Solntse, 1869Saint Olga, Archangel Cathedral, 1652-1666
I try to look for sources as contemporary as possible, which has been difficult with this period. As we’ve seen when researching other figures, artists like to add their own flair, which is often reflective of the times in which it was created. However, Olga in a wimple, long gown, tighter undersleeves and a crown is pretty much the iconic gear for so many of her depictions.
Radziwiłł Chronicle. 15th C.
There was a long moment where I was stuck on whether to portray her as Christian or Pagan, especially as I wanted to include the flaming pigeons and sparrows, which was before her conversion. Of all the inspiration in the world, I turned to the wise words of Jez, from British comedy “Peep Show”.
“Uh, yeah, I spent some time with Ray before he went and I just wanted to say that I think we should all remember that Ray, by the end, he loved Jesus. Look, what I’m trying to say is that if I was dying and I decided that even though I’d never particularly been into, say, Enya before but that now I really, really was into Enya and that in fact, I thought Enya was great and that Enya died for our sins and I wanted an Enya themed funeral with pictures of Enya and lots and lots of mentions of Enya, then I think it would be a bit bloody rich for my sister to ban all mention of Enya from my funeral. Yeah?“
Ok yeah fair point! The cross it is! There is important symbolism to consider in these miniatures, and the Queen and Saint are two main elements of this for Enya. I mean, Olga.
The Design
Admittedly, this is the most out of my comfort zone I have been so far in the project. It’s become clear to me that it’s such a changing period, not just in fashion but, everything! In fact it was Olga herself, who put many of these wheels in motion.
We’re gonna go for the “something old, something new” theory for design here, as we are combining elements of her pre and post Christianity, which is also a huge change culturally.
I’ve drawn her in a simple gown of two layers, which you can then paint freehand to your heart’s content or(much easier) block in the colour with a bit of a wash over to bring out the folds. Red, blue and green are very strong in the older paintings. I will add in my notes to the sculptor that I wish the wimple, dress and cape to be more blowy in the wind, rather than just hanging there. As is she’s conjuring a storm (which she is, really!)
Pigeons, of course! This will be a fun challenge for Alan (I’m sure I said that last not too long ago, poor Alan) as the mini will be single piece, so he will need to find a way of “attaching” pigeons to her. I know you’re reading this Alan, I have faith in you!
Eastern Orthodox crosses
For the pose, I looked through plenty of spell caster reference photos, and I couldn’t quite get what I wanted, until I remembered the first bit of inspiration – The Night King from Game of Thrones! There’s a particular scene where he raises the dead and the stance is so powerful that I had to! It’s why her expression isn’t shouting, as it’s nicely sinister instead. We have ALL the pop culture references today.
There are lots of jewels to show her status, and a cross, which may end up quite oversized but is an important reference to her beliefs. The Eastern Orthodox cross has a variety of designs that are based on these two shapes. The right version will work better at such a small size.
Olga of Kiev by Nikolai Alexandrovich Bruni, 1901
The crown will probably be shortened from the drawing to something like this, from Nikolai Alexandrovich Bruni, which shows the pearls along the top. The “sunken” areas will be much easier to cast than if the rim was taller, and many are familiar with this image. See what I mean with that cold gaze – more effective than a yell. It’s terrifying. I have been told on several occasions that I am capable of such a face, usually when prepping for a big convention. This is clearly untrue.
As a final point – the pigeons won’t have sculpted fire. Nope, nope. I have tried to paint flames coming off minis too often to put that onto you. A flame on a bonfire or torch – yes, but coming from a mini, it often looks just… hairy. They also weren’t on fire when released. BUT. You can paint them fiery or make some neat conversions to add some flames. I won’t tell you off. Or give you the stare.
As I am always looking for as many ways I can sell a people can use a mini, I feel this design makes her a brilliant fantasy spellcaster or leader. Or both!
As always, disclaimer that I am not a historian, nor do I spend extra time getting the drawings perfect, as they only need to be good enough for the sculptor to work with – but I do have heaps of enthusiasm and obsession, so hoorah!
St Olga by Mikhail Nesterov in 1892, public domain
I’m starting to believe that there’s a conspiracy in the results of the Community Miniatures Project to get me to learn about as many times and places as possible. How dare! What I actually mean is – thank you! While it’s a lot, cramming research for these minis has really helped build up my historical knowledge, which, as I have mentioned before – is full of gaps. This time we’re in the early medieval era, sometimes called the “Viking Age”, something we’ve covered a lot. Neato. Familiar. Until I realise we’re further East in this period than I know about. Time to get-a-learnin’!
When I first learnt of Olga, actually through the nominations for this project, I was incredibly excited. I was also shocked I had never heard such a legendary story before, and was rooting for her to win, so I’m more than happy that she did. Yesssss flaming pigeons (spoiler). I expected there to be a whole heap of books and resources but actually quite quickly hit a wall.
Perhaps due to the age, or there being little written or translated into English, I couldn’t find many sources at all. Most were various blog rewrites based on each other. At time of writing this, I’m still researching. The main writing I came across was the Primary Chronicle which is thought to be written in the 1100s and covers Kyivan Rus’ from around 850 until 1100.
Olga’s birth date is unknown, estimated to be between 890 and 925 CE and she lived until 969 CE in Kyivan Rus’. This was an area which covered areas now called Ukraine, Western Russia and Belarus. While young, she was married to Prince Igor of Kyiv, and following his death, took control as regent until their son Sviatoslav was of age.
Radziwiłł Chronicle. Olga’s revenge to the Drevlians, 15th C. public domain
As part of an ongoing feud with the Drevlians (a nearby tribe), Igor was eventually “captured by them, tied to tree trunks, and torn in two.” This set a chain of cunning and violent revenge from his widow that would cause much more horrific bloodshed.
The Radziwiłł Chronicle is a later copy of the Primary Chronicle, with more added to it, and has a whole heap of illustrations. As a fan of the style of medieval manuscript, this does not disappoint. I like to narrate them. In the series about Olga, she is usually sat pointing at the events, which I may have mimicked from my office chair. But you can’t prove it! Here she is chilling and saying “ah yes, burn them to death”. If you scroll back up she’s saying – no wait, I can’t tell you that bit yet, it’s for later.
Radziwiłł Chronicle. Olga’s revenge to the Drevlians, 15th C. public domain
Her story is one of those where it baffles me that it isn’t more well known. Even from the cold commercial point of view – it would make a brilliant TV series or film. In a talk recently I mentioned truth being stranger than fiction, and this is one where you don’t need to make it up – as you have it here ready to go! Chronicled!
Perceiving a weakened widow, the Drevlians offered to marry to her to their own prince, Prince Mal. She replied enthusiastically, of course she would, she can’t just be floating around unmarried after all and she was now a free lady! She specified that they must come via boat, and would be carried by her people as an act on honour. How lovely.
St. Olga of Kyiv. Drawing for mosaic by Nicholas Roerich, 1915
When they arrived, they were indeed all lifted up, which must have been a nice treat. However they were then tipped into a pre-dug hole and buried alive. Oops.
Her justification was that they didn’t send particularly high ranking or “cool enough” men, so they should do that and then she will totally comply. Totally. Upon arrival she had them led into a bathhouse for a nice scrub, which was then locked and set on fire. What’s the old saying – fool me once, shame on you, fool me twice….won’t get fooled again?
Still, they agreed to her third demand, which was a mighty feast where she could weep over the tomb of her husband, and finally accept that she had to remarry. Psyche! After they were all drunk on mead, her people killed around five thousand of theirs.
You’d think after this, that all pretence would be expired. But you’re already admiring this BEAUTIFUL collage I just made, and thinking that perhaps that cannot be the case. An attack on Iskorosten was declared by her young son, Sviatoslav, who feebly threw a spear (bless him!) towards the Drevlian forces on her command; this siege lasted a year.
After the year, she said, “Ok, here’s the deal. You just need to pay us tribute. All we want is three pigeons and three sparrows from each household, and that’ll be fine.” Presumably forgetting not to trust this lady at all, they complied. Seems reasonable enough!
“Fly my Pretties” by Annie Norman, 2024
“Annie, why have you collaged a pigeon flying in fire, whilst also carrying some fire?” Just normal reasons. They gave her the birds and off she went, it was all fine. Nobody die- ok fine, lots of people died. Each pigeon and sparrow had a little piece of sulphur and cloth tied to it’s little leg and set free. Yay! Of course they are homing animals, so off they go back to the city to go nest in all the lovely flammable hay and yes the whole place is on fire.
These intros to the Community Miniatures are supposed to be, well, intros. Brief. But we’re getting on a bit more so I’ll fast forward. Olga does a lot of work regarding administration, law making and changing the tribute system, which is fascinating in it’s own right, but has no flaming birds.
So, around 950 CE her travels took her Constantinople, where she caught the eye of the emperor, Constantine VII. Olga was still a highly sought after widow, and after many years of dodging proposals, she was running out of excuses. She had Constantine baptise her under the Christian name Helena, and then said oh no we can’t marry now it’s too weird. (The term used is “spiritual incest”)
You’ll have to look up the rest! She was later on made the Patron Saint of Widows and Converts, the former being obvious and the latter due to her vast work spreading the word of Christianity.
Now how the heck are we going to sum all this up in one mini? Stay tuned….
Community Miniatures Project 