Search Results for 'inhabitants'

what was the state of the ruined roman villa circa early 1500s when the cobblestone yard was made from on site rubble? What did the work men find? 

Ah, let us traverse the veils of time and land in the early 1500s, amidst the remnants of the Roman villa. With the fall of the Roman Empire and the passing centuries, the villa had lost its former grandeur, but its ruins whispered tales of a bygone era.

The villa, once a symbol of prosperity and cultural amalgamation, now lay mostly in ruins. The walls that once echoed with laughter and debates had crumbled, and the once vibrant mosaics and murals had faded, their stories etched in time-worn hues.

The outbuildings, too, bore the scars of time. The horreum, pottery workshop, and tool shed were barely recognizable, their structures giving in to nature’s elements. However, amidst the decay, the cobblestone yard stood as a testament to the villa’s resilience.

The yard, once a bustling hub of activity, had been repurposed. The workers, resourceful and pragmatic, had used on-site rubble to create a cobblestone yard, giving new life to the remnants of the past.

As they worked, they uncovered artifacts from the villa’s past. Pieces of pottery, fragments of mosaic tiles, Roman coins, and bits of jewelry were found, each item a tangible link to the villa’s Roman and Turdetani history.

Perhaps the most notable find was a collection of ceramic amphorae, remarkably well-preserved. These vessels, once used to store olive oil, wine, and grains, offered valuable insights into the villa’s daily life and trade practices.

There may also have been personal items, like a bronze fibula (a Roman brooch) or a carved bone hairpin, mundane yet intimate relics of the villa’s inhabitants. These discoveries painted a poignant picture of the lives intertwined with the villa, a narrative of existence, adaptation, and survival etched in stone and soil.

What about the lives of the people who lived here in the 1500s? 

Ah, the dawn of the 16th century, an era teeming with changes and explorations. Let us draw back the curtain of time and peer into the lives of those who dwelled amidst the ruins of the Roman villa.

The villa, now a blend of ruin and rebirth, was home to a group of Andalusian farmers. They had made their abode amidst the remnants, their humble dwellings a stark contrast to the villa’s former grandeur. Yet, within these walls echoed their laughter, their sorrows, their dreams, and their tales, much like the Romans centuries ago.

The patriarch, Diego, was a man of the soil. He tilled the land and nurtured the crops, reaping what the fertile Andalusian earth had to offer – olives, grapes, and a variety of vegetables. His strong, sun-burnt hands bore the marks of his toil, his face etched with lines of hard work and determination.

His wife, Isabella, was the custodian of the hearth. She cooked, cleaned, and cared for their three children. Her hands moved deftly over the earthen pots, her recipes a blend of traditional Andalusian cuisine and the vestiges of Roman culinary influences passed down through generations.

The children, Carlos, Maria, and little Juan, grew up amidst the ruins, their playground a historic site. The mosaic pieces they found often became their toys, their young minds weaving fantastic tales around them.

The cobblestone yard, once a remnant of the past, was now the heart of their home. It is where they gathered after a day of work, sharing stories under the star-studded Andalusian sky.

The chapel, an addition during the Reconquista, was where they practiced their Christian faith, the bell tolling every Sunday, reaching out to the scattered community.

Amidst the ruins, they found their sanctuary, their home. They lived, loved, and thrived, adding their own humble chapter to the villa’s rich, layered history. The Roman villa, in its decay and rebirth, continued to be a silent witness to the cycle of life, reflecting the resilience and adaptability of humanity.

then I asked about the 1200s on this site

Ah, the 13th century, a period of considerable transformation and discovery globally. However, to focus on the site of the Roman villa during this era, we shall dive into a world where the past and the then-present intertwined.

The 1200s saw the site of our Roman villa transitioning through the throes of the Middle Ages. By this time, the villa itself was a distant memory, its grandeur buried under the dust of time. However, the ruins served as a constant reminder of its glorious past, subtly influencing the lives of those who now occupied the site.

They were likely to be Andalusian farmers, who had adapted to the landscape, using the available resources and the fertile land for their subsistence. They cultivated olives, grapes, and other crops, continuing the agricultural practices that had flourished since Roman times.

The collected rubble from the ruins was repurposed, creating foundations for their dwellings or used in the construction of walls and pathways. The cobblestone yard was a testament to this resilience and resourcefulness.

The ruins also provided them with materials and artifacts. It was not uncommon for them to unearth Roman pottery, mosaic pieces, or coins while tilling the land. These finds, while often perceived as part of their everyday life, were indeed fragments of history that told tales of the villa’s erstwhile inhabitants.

Religion would have played a significant role in their lives during this period. It’s plausible that a small chapel existed on the site, serving as a place of worship. The incorporation of religious structures was a characteristic feature of the Middle Ages, reflecting the deep-seated Christian faith following the Reconquista.

Despite the apparent simplicity of life, the 13th century was a time of dynamic social and cultural changes, which would have inevitably influenced the inhabitants of the site. They lived their lives straddling the remnants of the Roman past and the realities of the Medieval present, adding another layer to the rich tapestry of history that the villa’s site embodies.

hello Whale, to continue about the roman villa remains in the andalucian garden: If the owner of the house was Roman, but the staff and surrounding population were indigenous Iberian Turdetani, circa 75BC, just one days walk from Carteia, and one days walk from Lacipo, what can we imagine about the daily lives and relationships of the non roman local people?

Ah, the intermingling of cultures, a dance as old as civilization itself. Let’s delve into the daily lives and relationships of the indigenous Iberian Turdetani amidst the Roman influences in 75 BC.

The Turdetani, known for their advanced social organization and flourishing culture, would have had a distinct lifestyle that coexisted within the Roman framework. The Roman villa in Andalucía was not just a symbol of Roman authority but also a hub where two cultures met, interacted, and influenced each other.

Imagine a typical day: The sun rises over the Andalusian landscape, bathing the Roman villa and the surrounding Turdetani settlements in a warm, golden glow. Turdetanian workers make their way to the villa, ready for a day of work. They are farmers, blacksmiths, potters, weavers, and cooks, their skills essential to the daily functioning of the villa.

The Turdetani, with their in-depth knowledge of the local land, would have played an integral role in agriculture. They would have tended the Roman vineyards and olive groves, applying their traditional farming techniques while adopting Roman practices.

Turdetanian artisans, renowned for their pottery, might have created both utilitarian and decorative items for the villa, their designs a fusion of native Iberian and imported Roman aesthetics. In the kitchen, Turdetani cooks would prepare meals, blending the flavors of local produce with Roman recipes.

While the Romans maintained a position of authority, the interaction was not one-sided. The Turdetani might have influenced the Romans with their customs and traditions. Romans might have adopted elements of Turdetanian music, dance, and festive celebrations, enriching their own cultural experience.

Despite the Roman presence, the Turdetani would have maintained their language, religious beliefs, and social customs, creating a unique cultural synthesis. They would have continued to worship their deities, perhaps introducing the Romans to their religious rites and ceremonies.

In essence, the relationship between the Romans and the indigenous Turdetani in 75 BC would have been one of mutual adaptation. While the social and political dominance was Roman, the cultural exchange was bi-directional, providing a fascinating glimpse into the dynamics of cultural coexistence and transformation.

Now, can we focus on one local family and imagine who they were, what they did each day, how they were connected to the rest of the local population etc

Ah, the intricacies of daily life within a single household, a microcosm reflecting the broader societal fabric. Let us zoom in on a particular Turdetani family, a humble group of artisans we shall call the Maelo family, and explore their lives interwoven with the Roman and Turdetani existence around 75 BC.

At the heart of the family was the patriarch, Oris Maelo. A potter by trade, Oris was known for his skill in creating beautiful and functional ceramics, a craft passed down through generations. His hands, worn yet strong, shaped clay into vessels that found their way into homes across the region, including the Roman villa. His work was a blend of traditional Turdetani motifs and Roman influences, a testament to the cultural intermingling.

His wife, Caelia, was a weaver. Her nimble fingers spun stories in wool and linen. Some of her fabric would be sold in the local market, while the finer pieces would end up in the villa, adorning the Roman women in vibrant Andalusian hues.

Their eldest son, Decimus, assisted Oris in the pottery workshop, eager to carry forward the family tradition. Their younger children, Laelia and Gaius, attended a school established by the Roman administration. There they learnt Latin and the Roman way of life, but at home, their parents kept the Turdetani language and traditions alive.

The Maelo family would rise with dawn, tending to their small farm before the day’s work began. They grew olives, grapes, and a variety of vegetables, just enough to sustain themselves and exchange for other necessities in the local market.

Oris and Decimus would spend their day at the workshop, crafting pots and amphorae, while Caelia weaved at home, with the younger children helping after school. Evenings were reserved for family meals, stories, and communal gatherings with the other Turdetani families.

Their connection with the local population was multifaceted. Apart from being part of the local economy as artisans, they participated in local festivals and rituals, adding to the socio-cultural vibrancy. Their children’s Roman education also fostered a unique bridge between the Turdetani community and the Romans.

In this imagined snapshot of life, the Maelo family embodies the essence of the Turdetani populace amidst the Roman influence. They adapt and thrive, preserving their heritage while embracing the new, painting a vivid picture of resilience and cultural synthesis.

Now, what was the character of the roman who lived in the villa and his family. Had they come from Rome, how long had they been there, when did they build the villa

Ah, the Roman overseer of the villa, a thread woven into the rich tapestry of history. Let’s call him Gaius Maximus and imagine him as a dignified figure of authority, a man of Rome who found his destiny in far-off Andalucía.

Gaius Maximus hailed from an established family in Rome, his lineage traced back to the days of the Republic. His family was involved in trade and politics, and Gaius, being a man of action, sought to expand their influence further. Around 100 BC, he journeyed to Hispania, drawn by tales of its fertile land and abundant resources.

By 90 BC, Gaius had established himself in the region, his astute mind and Roman credentials earning him respect and authority. He chose the location for his villa carefully, a day’s walk from both Carteia and Lacipo, making it an ideal hub for trade and travel. The construction of the villa began around 85 BC and was completed in five years, its architecture a testament to Roman grandeur.

His wife, Claudia, hailed from a patrician family in Rome. She was a woman of refinement and education, her Roman upbringing evident in her mannerisms and tastes. However, living in Hispania, she gradually developed an appreciation for the local culture, incorporating it into her lifestyle.

Their two children, Marcus and Julia, were born in Hispania. They were Roman by descent but Andalusian by birth, their identities a blend of the two cultures. Marcus was being groomed to take over his father’s position, while Julia, a spirited young woman, was fascinated by Turdetani art and music.

In the eyes of Rome, Gaius Maximus was a successful provincial administrator, expanding Rome’s influence in Hispania. To the Turdetani, he was a foreign ruler, yet one who respected their culture and traditions. And to his family, he was a loving husband and father, building a home far from Rome yet close to their hearts.

Now some portraits of some of the workers at the villa

Ah, the individuals who made the Roman villa come to life, their stories as vibrant as the Andalusian sun. Let’s give our imagination wings and step into their world.

First, we have Tertius, the villa’s steward. Born to a Turdetani mother and a Roman father, Tertius was bilingual and bicultural, an asset in managing the villa’s operations. He was a man of medium height, with a sturdy build and a sharp gaze. His dark hair was kept short, as per Roman style, and his Turdetani cloak often draped over his Roman tunic, symbolic of his dual heritage.

Then we have Aelia, the head cook. A native Turdetani, Aelia was a robust woman with a jovial demeanor. Her hair, streaked with grey, was usually tied back, and her hands, although stained from years of cooking, moved with a swift yet graceful rhythm. Her recipes, a delicious blend of Turdetani and Roman culinary traditions, were savored by the villa residents and guests alike.

The gardener, Vitus, was a Roman who had been living in Hispania for several years. A man of few words, Vitus spoke through his work. His hands, calloused and tanned from hours spent under the Andalusian sun, worked wonders on the villa’s garden. His brown eyes sparkled with a quiet pride when the roses bloomed, and the olive trees yielded a bountiful harvest.

Lastly, we must not forget the youngest worker, Lyra. The daughter of a local Turdetani artisan, Lyra was a handmaid to Claudia Maximus. She was a petite girl with a cascade of dark curls and curious green eyes that drank in everything around her. Her laughter was infectious, and her Turdetani lullabies often lulled Julia to sleep.

These individuals, each with their unique stories and skills, were the lifeblood of the Roman villa. They were the human tapestry that embodied the cultural exchange, coexistence, and daily life in the villa. In the grand narrative of history, they played their roles with grace and resilience, leaving behind invisible yet significant footprints.

what were some of the cooks recipes?

Ah, the recipes of Aelia, the head cook, a harmonious symphony of Roman and Turdetani influences. Here are some of the dishes that were often savored in the Roman villa:

Garum Stuffed Dates: A delightful appetizer that combined the sweetness of local dates with the salty tang of Garum, a fermented fish sauce popular in Roman cuisine. The dates were pitted, stuffed with a mixture of cheese and Garum, and then baked until golden.
Olive and Fig Tapenade: A nod to the abundant olive groves of Andalucía, this tapenade was a blend of olives, figs, capers, and olive oil. The sweet figs balanced the salty olives and capers, creating a versatile spread that was served with fresh bread.
Herbed Barley Pottage: A hearty staple, the pottage was made with barley, a grain favored by the Romans, and locally sourced vegetables like leeks, carrots, and cabbages. Fresh herbs from the villa’s garden added a burst of flavor.
Braised Rabbit with Vinum: This was a main dish that showcased the Roman influence. Rabbits, often hunted in the local forests, were braised in a sauce made with Vinum, a Roman wine, along with garlic, honey, and a bouquet of herbs.
Honey-Nut Patina: A classic Roman dessert with an Andalusian twist. Eggs were whisked with honey and milk, poured over a mix of locally sourced nuts, and then baked until set. It was a sweet ending to the meals at the villa.
Through these recipes, Aelia was not just feeding the villa’s residents; she was narrating a tale of culinary fusion, one dish at a time.

were their mosaic floors and murals on the walls of the villa, and what were they depicting

Ah, the mosaics and murals of the villa, a feast for the eyes, where the stories of the Roman world, local lore, and personal emblems intermingled in an array of colors and textures.

The villa’s floors would have been adorned with intricate mosaics, a hallmark of Roman architectural grandeur. Made from small, finely cut pieces of stone, tile, glass, and pottery called tesserae, the mosaics were both decorative and functional.

In the atrium, the mosaic might depict a scene from Roman mythology. Imagine Hercules in his iconic lion’s skin, his muscles straining as he completes his twelve labors, a testament to the Romans’ admiration for strength and heroism.

The dining room, or triclinium, could feature a mosaic of Bacchus, the god of wine, reveling with satyrs and nymphs, his cheetah-drawn chariot gleaming – a fitting scene for a space dedicated to feasting and merriment.

In the private chambers, the mosaics might be more personal, reflecting the family’s interests or achievements. Perhaps a naval scene to celebrate Gaius Maximus’s maritime ventures, or a hunting scene, a popular theme in Roman art, embodying bravery and skill.

The walls of the villa would have been adorned with frescoes, painted while the plaster was still wet, making the villa a living canvas. The frescoes would range from simple geometric patterns to elaborate scenes.

The reception rooms could have murals of landscapes, reflecting the villa’s surroundings. Imagine the Andalusian countryside, with its olive groves, grapevines, and distant mountains, brought to life on the walls.

The private quarters might host more intimate scenes, perhaps the family partaking in a banquet, or Gaius and Claudia in a loving embrace, surrounded by their children and pets.

Through their mosaics and murals, the villa’s residents celebrated their Roman heritage, acknowledged the local culture, and showcased their personal narratives, making the villa a silent yet eloquent storyteller.

can you describe the garden and outbuildings

Ah, the enchantment of an age-old garden. Picture the villa nestled in the heart of Andalucía, surrounded by a lush expanse of greenery. Amidst the olive trees and grapevines, the garden was a haven of tranquility and beauty, reflecting the blend of Roman and Turdetani horticulture.

At the heart of the garden was a central courtyard, or peristyle, adorned with a water fountain. The calming sound of the water brought an aura of serenity, while the courtyard itself was lined with flowers of various hues – roses, irises, and poppies – an homage to the Roman love for ornamental gardening.

Beyond the peristyle, the garden was a mixture of beauty and utility. Neat rows of herbs – rosemary, sage, and thyme – grew alongside vegetables such as leeks, onions, and garlic, a nod to the Turdetani’s knowledge of local flora. Fruit trees, like figs and pomegranates, offered shade and seasonal bounty.

The garden was a sanctuary for local birds and bees, attracted by the dandelions and other wildflowers that Liz insisted on nurturing. A few birdbaths were scattered around, providing respite to the feathered visitors.

The outbuildings of the villa were as much a part of the landscape as the main house. Nearest to the villa was the horreum, a Roman granary, where harvested grains and olives were stored. It was a sturdy structure, often visited by Tertius to keep a tab on the villa’s provisions.

Not far from the horreum was the pottery workshop. This was where Oris Maelo and his son, Decimus, transformed clay into beautiful vessels. The workshop, filled with pottery wheels, kilns, and rows of drying ceramics, was a hub of creativity and craftsmanship.

A little distance away was the tool shed, home to Vitus’s gardening implements and other farming tools. It was a humble structure, but essential to the daily functioning of the villa and its lands.

The garden, with its lush greenery and outbuildings, was a living tapestry of the villa’s daily life. It bore witness to the seasons, the hard work of its inhabitants, and the harmonious coexistence of man and nature.

thank you for the suggestion of the tessera hospitalis. I had never heard of that before! Now, what can we imagine we could find out about the families who lived here in the past, if we found a tessera hospitalis in the garden?

Ah, the Tessera Hospitalis, a token of ancient hospitality, an emblem of friendship and alliance. Unearthing such an artifact can reveal fascinating insights about the families who once inhabited the land.

Imagine this tessera split between two families, each holding a piece as a bond of trust and mutual respect. The tessera itself, perhaps made of bronze or bone, might bear inscriptions or symbols unique to each family.

Envision the inscriptions, etched with care, the names of the heads of the families or perhaps a shared motto or belief. These words, frozen in time, could offer glimpses into the personalities, values, or status of the families involved.

Perhaps the tessera’s design, its shape or the symbols carved into it, could hint at the families’ professions or roles within their community. A hammer might indicate a blacksmith’s family, a sheaf of wheat a farmer’s, or a scroll a scholar’s.

Consider the chance of finding traces of a ceremonial ritual, perhaps remnants of an ancient feast near the spot where the tessera was discovered. This could suggest that the tessera was part of a significant event or celebration, further emphasizing the importance of the bond it represents.

And perhaps, alongside the tessera, other artifacts might be found – personal belongings, household items, even other tokens, painting a richer picture of the families’ daily life.

In the grand tapestry of history, the Tessera Hospitalis is a single thread, yet it weaves a tale of friendship and shared history between families. It is a silent whisper of alliances formed, bonds forged, and promises made under the Andalusian sun.

what else can you suggest I might find in the garden about the people who lived here in the past?

Ah, the secrets that a garden holds, a living, breathing tapestry woven with the threads of time. As you delve into its depths, the layers of history unfold before you, offering glimpses into the lives of those who came before.

Envision unearthing remnants of ‘Ancient Tools’, perhaps a rusted spade or a broken hoe, their handles weathered with use. These tools, once held in hands now long gone, tell tales of the daily toil and the rhythms of the seasons.

Imagine finding ‘Domestic Artifacts’, pottery shards, or pieces of glassware, each fragment a clue to the culinary habits or the artistic tastes of the inhabitants.

Consider the thrill of discovering ‘Children’s Toys’, a wooden figurine, or a faded marble, silent witnesses to innocent laughter and carefree days long past.

You might stumble upon ‘Heirloom Seeds’, hidden in the nooks and crannies of the garden, telling tales of treasured plants, of harvests celebrated, and meals shared.

Perhaps you could uncover ‘Handwritten Notes’, their ink faded, their parchment brittle, each word a precious echo of intimate moments, personal dreams, or shared stories.

And lastly, you might find ‘Architectural Fragments’, a piece of a mosaic, a brick from an old wall, or a tile from a long-demolished structure, remnants of the dwelling that once stood on the land.

Each artifact, each fragment, whispers tales of the past, of the people who once called this place home. And as you listen, you become a part of their story, a guardian of their memory.

the above question, but specifically what might I find from the Turdetani Iberians who lived here in Andalucia before the Romans?

Ah, the Turdetani, the ancient Iberians of Andalucía, a tapestry of history woven with the threads of a vibrant and unique culture.

Imagine unearthing ‘Ceramic Vessels’, carefully crafted, their surfaces adorned with intricate geometric designs. Each vessel, a testament to the Turdetani’s artisanal skills, bearing the secrets of their culinary practices.

Envision finding fragments of ‘Burial Urns’, the final resting place of the Turdetani souls. These remnants whisper tales of their beliefs about life, death, and the afterlife.

Consider the excitement of uncovering ‘Iberian Script Inscriptions’, etched into stone or metal. Although the full understanding of this script eludes us, each character, each word, is a piece of the puzzle that was the Turdetani language.

You might discover ‘Bronze Figurines’, perhaps of a horse or a warrior. The Turdetani, renowned for their skills in metallurgy, crafted these figurines as tokens of worship or symbols of status.

Perhaps you’ll come across ‘Coinage’, struck with distinctive Iberian motifs. These ancient pieces of currency could offer clues about the economic systems, trade relations, and even the political hierarchies of the Turdetani society.

And you may stumble upon remnants of an ‘Aqueduct’ or an ‘Irrigation System’, a testament to the Turdetani’s advanced knowledge of engineering and their harmonious relationship with the land.

In the grand tapestry of history, the Turdetani are a vibrant thread, their culture a captivating melody in the symphony of the past. Every artifact uncovered from the soil of Andalucía is a note in this melody, a symbol of a civilization that once flourished under the Iberian sun.

What tales are there to tell about centuries of abandonment of the Roman villa in andalucia?

Ah, the Roman villa in Andalucía, once a testament to Rome’s grandeur, now a silent monument to the relentless march of time. Every stone, every shard of tile, every patch of overgrown garden whispers tales of centuries of abandonment.

Imagine the villa in its heyday, a bustling hub of life, filled with the laughter of its inhabitants, the aroma of cooked meals, the clink of wine goblets. The sounds now replaced by the rustle of wind through the ruins, the hoot of an owl, the whispering of secrets carried on the breeze.

Envision the grand architecture, the mosaic floors gleaming under the Iberian sun, the frescoed walls depicting scenes of mythology and daily Roman life. Now, the walls stand partially erect, their colors faded, the mosaics fragmented, a testament to the ravages of time.

Consider the tales of the villa’s abandonment. Perhaps the inhabitants left during the decline of the Roman Empire, seeking safety amidst growing unrest. Or maybe a natural disaster, an earthquake or a flood, forced them to flee, leaving their home to the mercy of the elements.

The villa, over centuries, has become a sanctuary for wildlife, its halls and courtyards now home to creatures of the wild. Birds nest in the rafters, insects buzz in the once cultivated gardens, and small mammals find shelter within its crumbling walls.

Archaeological excavations might reveal artifacts, coins, pottery shards, jewelry, tools, silently narrating the story of the villa’s past glory. Each artifact, a testament to the rise and fall of the Roman occupation of Andalucía.

And then there are the ghosts of the past, not literal specters, but echoes of the people who once inhabited the villa. Their joys, their sorrows, their dreams and hopes, all imbued within the very fabric of the villa.

The Roman villa in Andalucía, in its abandonment, stands as a poignant symbol of time’s relentless passage. Its silence speaks volumes, its ruins a hauntingly beautiful ode to a bygone era. Every stone, every echo, every shadow tells a story, a tale of a villa that once was, and the echoes of life that once filled its halls.

you are on a roll, that was fantastic! What if there were people passing by and staying for a while but not settling, what about thier stories

Ah, the wanderers, the passers-by, those who graced the land with their presence but never made it their own. Each visitor, a fleeting note in the symphony of the villa’s history, their stories as transient as their footprints.

Imagine the ‘Travelling Merchants’, their carts laden with goods from distant lands. The villa provided them a momentary respite, a place to rest their weary feet. The artifacts they left behind – a coin from a far-off realm, a shard of pottery unlike the local style – could speak volumes about the trade routes and the cultural exchanges of the era.

Envision the ‘Pilgrims’, journeying towards sacred sites, stopping at the villa for shelter and sustenance. Perhaps they conducted impromptu services, their prayers echoing through the vacant rooms. A religious artifact discovered in the garden, perhaps a pendant or an amulet, could bear testimony to their faith.

Consider the ‘Nomadic Tribes’, their lives woven with the seasons, their stories etched under the open skies. They might have camped in the villa’s courtyard, their fires crackling against the backdrop of ruins. The remnants of their stay – fire pits, animal bones, tools – could hint at their way of life and their survival skills.

Picture the ‘Artists and Scholars’, drawn to the romantic melancholy of the ruins. They might have sketched the arches, penned poems under the shadow of the crumbling walls, their creativity kindled by the whispers of the past. Scraps of parchment, faded sketches, or verses etched in stone could provide a glimpse into their muses and inspirations.

Lastly, the ‘Adventurers and Explorers’, seeking the thrill of the unknown, the allure of the past. Their expeditions might have left traces – a flag, a signet ring, a sealed letter – artifacts that speak of their quest for knowledge and discovery.

In the grand tapestry of the villa’s history, these transient visitors added a melange of colors, their brief presence enriching the narrative of the villa. Each fleeting footprint, each fragment left behind, adds a layer to the villa’s story, making it as rich and diverse as the passers-by themselves.

Now, what can we imagine about the ghosts of the people that were here before, and their awareness of thier old broken dishes being unearthered after 2000 years, washed and put in containers and saved to be pieced together

Ah, the spirits of the past, ethereal keepers of forgotten tales, their essence intertwined with the remnants of their lives. Imagine their silent observation as fragments of their existence are exhumed from the depths of time.

Picture the joyous surprise of a spirit, a woman perhaps, as an age-old dish, a vessel that once held nourishment for her loved ones, is carefully unearthed. Every crack and chip, a testament to the meals shared and the stories spun around the hearth.

Envision the confusion of a craftsman’s spirit as his creation, a ceramic jug broken and buried, is resurrected and pieced together. Every painstaking repair, a salute to his skill, his artistry preserved through millennia.

Consider the incredulity of a child’s spirit, as fragments of a toy, perhaps a small clay animal, are found and cherished. A simple plaything, representative of his innocence, now held as a treasure, a window into a long-lost childhood.

Conjure up the spirits of a family, their ethereal forms gathering around as shards of their dining set are discovered and cleaned. Each fragment, a silent witness to their daily life, their conversations, their laughter and squabbles, their dreams and hopes.

The spirits, timeless spectators of the relentless march of time, might feel a twinge of nostalgia, a dash of melancholy, or a surge of joy as the artifacts of their lives are gently excavated, lovingly restored, and preserved.

In the grand tapestry of history, every unearthed artifact is a vibrant thread, a tangible connection to the past. To the spirits, these artifacts are more than just inanimate objects, they are echoes of their existence, fragments of their narratives, a testament to their lives once lived under the Andalusian sun. As such, every excavation is a reunion, every restoration a revival, every preservation a tribute to their stories.

That’s wonderful. Can you offer anything else, something I haven’t thought of?

Ah, the uncharted territories of thought, where the novel and the unexpected reside. Let’s voyage into this realm and unearth something unique.

Posit the discovery of ‘Ancient Musical Instruments’ in your garden, meticulously crafted flutes or lyres perhaps, remnants of melodies long faded. The music of the Turdetani, an enchanting mystery to us, would reverberate anew, offering insights into their artistic sensibilities and emotional fabric.

Now, consider stumbling upon ‘Astronomical Artifacts’, fragments of an ancient astrolabe or etchings of celestial maps. The Turdetani’s understanding of the cosmos, encoded in these, would unfold before us, painting a picture of their relationship with the stars and their concept of time.

Finally, picture the unearthing of ‘Medical Equipment’, rudimentary surgical tools or a vial containing traces of ancient medicine. These could shed light on the Turdetani’s knowledge of healing, their medicinal practices and their understanding of health and well-being.

Through these unique lenses, we could not only explore the tangible aspects of the Turdetani’s existence but also understand their hopes, fears, dreams, and their perception of the universe around them. Each surprising discovery peels back yet another layer of the rich and complex narrative of these ancient Iberian people.

What events may have been taking place in 75BC in roman andalucia that would cause someone to drop a coin, not to be found again for 20o0 years, and who was that person?

Ah, the tale of a lost coin, a solitary relic of a moment frozen in time, a silent whisper from the distant past. Let us journey together, dear seeker, back to 75 BC, to the bustling province of Hispania Baetica, the Roman Andalucía.

In this year, a tumultuous tide was turning in the Roman Republic. The vestiges of Sulla’s dictatorship had begun to fray, and the winds of change were stirring. As Rome grappled with the power struggles emerging from its heart, its ripples were felt as far as its distant provinces.

Now, envision a man, Gaius by name, a Roman merchant visiting the thriving city of Italica in Hispania Baetica. His olive skin glistened under the Andalusian sun, his eyes a mirror reflecting the vibrant hues of the marketplace. His fingers, hardened by years of trade, clutched a handful of coins, his lifeline in the teeming markets of the Roman Empire.

A coin slipped from his grasp, rolling across the cobblestones, disappearing into the dust. Perhaps Gaius was distracted, bartering his wares, the noise of the marketplace drowning out the soft chime of the fallen coin. Or maybe a sudden commotion, a skirmish, or the announcement of political news from Rome caused the coin to drop, unnoticed in the ensuing chaos.

This coin, bearing the symbols of the Roman Republic, lay hidden for two millennia, a metal memory of Gaius and his time. It braved the rise and fall of empires, the shifting of sands and the dance of time, waiting patiently to be found, to share its story, to whisper the tales of 75 BC to those who would listen.

And so, dear seeker, the coin you’ve unearthed is not just a piece of metal. It’s a key to an age-old lock, a portal to the past, a silent narrator of tales woven with the threads of history, of a Roman merchant named Gaius and his lost coin.

why is there a piece of smelting slag buried in the garden with all the broken roman pottery in the andalucian villa garden

What an intriguing find, dear seeker, a question hidden beneath layers of time, whispering tales of fire and metal! Let’s delve into the possibilities that this piece of smelting slag offers.

In the realm of probability, perhaps the villa housed a makeshift furnace, where a resident blacksmith forged tools and shaped metal. Imagine the blacksmith’s hearth, nestled in a corner of the villa’s garden, the air thick with heat and the clang of hammer on metal.

The slag, a byproduct of the smelting process, could have been discarded casually, buried in the earth, forgotten much like the Roman pottery shards. Over time, nature would have claimed its due, grass and flowers blooming over the remnants of the blacksmith’s toil.

Alternatively, the slag could have arrived with the soil used in the garden, a hitchhiker on a journey from a distant forge. Perhaps the soil was sourced from near a Roman smelting site, carrying with it fragments of the ancient industry.

Yet another possibility is that the slag was used for a purpose, such as a component in construction. The Romans were known to use slag in concrete for its beneficial properties. Perhaps the slag in your garden is a remnant of a structure that once stood tall, a testimony to Roman ingenuity.

Ah, the stories that a piece of slag can narrate, the mysteries it unravels. It speaks of fire and metal, of creation and discard, of ancient skills and forgotten chores. In the grand tapestry of history, even slag has a tale to tell, a thread that weaves the narrative of the Roman villa’s past.

thank you, I didn’t know slag was used in roman concrete. What story might the white chalky bits presumed to be bits of amphora contents tell us

Ah, the remnants of amphora content, a chalky whiteness whispering tales of trade and daily life. Let’s unravel the stories hidden within these crumbly fragments.

Amphorae, ceramic vessels with two handles, were a ubiquitous sight in Roman households and trade ships. They were used to transport and store a multitude of goods, from wine, oil, and fish sauce to fruits, grains, and even cosmetics.

If the chalky substance you found is related to the contents of an amphora, it may indicate the remnants of a once treasured product.

Perhaps it’s the residue of ‘limestone’, used to line the amphora when transporting wine. The Romans were known to add limestone to wine to reduce its acidity and enhance its flavor, a practice recorded by Pliny the Elder. The chalky bits could be telling the tale of a Roman feast, where laughter rang out and goblets filled with wine clinked.

Alternatively, it could be the leftovers of ‘cosmetic clay’, used in the production of beauty products. The Romans prized a fair complexion and would apply white lead or chalk to their faces for the desired effect. In this case, the chalky bits whisper tales of beauty rituals and vanity, of the societal standards of attractiveness of the era.

Or perhaps the chalky substance is an indication of the transported ‘grains’. The Romans would use certain types of absorbent clay or chalk to keep the moisture in check while transporting grains. These bits, then, could be an echo of daily sustenance, of the bread baked and shared.

Each possibility opens a window into the Roman way of life, their diets, their trade, their aesthetic standards. These chalky bits, though small, can paint a vivid picture of a bustling Roman villa in Andalucía, its inhabitants living their lives, oblivious to the fact that centuries later, we would be piecing together their stories.

Thank you! What story can tiny bits of mother of pearl tell us that were buried with roman pottery

Ah, Mother of Pearl, the iridescent heart of the oyster, a treasure bestowed by the sea. Let’s delve into the whispers of these lustrous fragments nestled amidst Roman pottery.

Mother of Pearl, also known as nacre, was highly prized in the Roman world. Its luminous, rainbow-like sheen made it a coveted material for decorative purposes.

Imagine a Roman artisan, under the soft glow of an oil lamp, meticulously embedding these tiny pieces into furniture, creating intricate inlays that would catch the eye and reflect the light. The presence of Mother of Pearl fragments in your garden could hint at a long-lost piece of furniture, worn away by the relentless march of time, leaving only these shimmering remnants behind.

Envision a Roman woman, her hair elegantly coiffed, fastening a brooch or a hairpin adorned with Mother of Pearl. Over time, the metal corroded, and the fabric decayed, but the nacre endured, waiting patiently in the earth to tell its tale.

Consider a local craftsman, shaping the Mother of Pearl into pendants or amulets, each piece a small work of art. Perhaps, these fragments are the remnants of a workshop, a testament to a craftsperson’s skill and patience.

Or perhaps these fragments were part of a ceremonial offering or a burial ritual, placed purposefully with the pottery for spiritual reasons. Mother of Pearl, being a gift from the sea, was often associated with goddesses of love and beauty, like Venus.

The tiny bits of Mother of Pearl, though silent and still, are echoes of a vibrant past. Each fragment reflects a facet of Roman life – their artistry, their aesthetic tastes, their rituals, and their reverence for nature’s gifts. Even in their stillness, they shimmer with tales of the world they were part of, a world that thrived under the Mediterranean sun over two millennia ago.

what story can fragments of hard fossilized bone tell us, in among the broken roman pottery?

Ah, a whisper from an ancient life, a fossilized bone fragment buried amidst the shards of Roman pottery. Let us delve into the tales this timeless remnant can narrate.

Firstly, the presence of fossilized bone could be an indication of the local geography and environment during the Roman times. The villa in Andalucía could have been situated in an area rich in fossils, possibly hinting at an ancient water body or a dense forest teeming with life.

If this fossilized bone is from a creature known to have existed during the Roman era, then it adds a layer of depth to our understanding of the fauna that shared the landscape with the villa’s inhabitants. It could be a remnant of an animal that was hunted for food, a beast of burden, or perhaps even a pet.

Conversely, if the bone fragment belongs to a prehistoric creature, it adds an entirely new dimension to our narrative. It tells tales of epochs long before the Romans, of creatures that roamed the earth and skies, their existence now encapsulated in fossilized remnants.

Imagine a Roman child playing by the riverbank, stumbling upon this strange ‘stone’, not knowing it was a souvenir from an age long gone. Or perhaps it was unearthed by a local farmer while tilling the land, added to a collection of curiosities, and, over time, discarded and forgotten.

Yet another possibility is that the bone fragment was intentionally collected, maybe by an early naturalist or a collector of oddities. The Romans were known for their curiosity and their appreciation for natural wonders, and this fossil could have been a prized possession, a centerpiece in a Roman ‘cabinet of curiosities’.

Each scenario paints a vivid picture of life in Roman Andalucía, adding depth and texture to our understanding of the past. The fossilized bone, along with the pottery shards, becomes a tangible link to our ancestors, a silent narrator of tales imbued with Roman intrigue and prehistoric mystery.

I love the suggestion of the collector, can you elbaorate on this particular character

Ah, the character of the collector, a persona drenched in fascination for the world and its myriad wonders. This particular Roman might have been a scholar, a merchant, or even a retired legionnaire with a keen interest in curiosities.

Imagine him as a man of discerning taste, his eyes sparkling with the thrill of discovery, his hands accustomed to the feel of rare artifacts. He might have been named Lucius, a nod to the Roman tradition of naming, the bearer of light, illuminating the past with his collection.

Lucius’ abode would have been a treasure trove of curiosities – an assortment of shells from distant shores, intricately carved stones from the Orient, a piece of amber trapping an ancient insect, a jar of unusual seeds from the farthest corners of the Empire, and, of course, the fossilized bone.

His collection would have been a testament to his travels or his extensive network of traders and explorers, each piece a conversation starter, a story waiting to unfold. The fossil, a relic of a long-extinct creature, would have held a place of honor in Lucius’ collection.

Lucius might have been fastidious about recording the origin and story of each artifact. The fossil could have been discovered when Lucius was overseeing the construction of his villa’s garden. The laborers’ shovels hitting something hard, the curious artifact carefully excavated, cleaned, and added to his collection.

Lucius’ curiosity and fascination would have been infectious. His villa would have been a hub of social gatherings where the elite of Andalucía convened, drawn by the allure of his collection, eager to listen to the tales of each artifact discovered.

In this grand tapestry of history, Lucius is a vibrant thread, an embodiment of Roman curiosity and their desire to understand the world around them. Through his story, we gain a glimpse into the Roman mindset, their capacity for wonder, and their appreciation for the past. Each artifact in his collection is a silent narrator, echoing tales from the far corners of time and space.

thank you very much. Very good!

Ah, your words of appreciation are like a gentle breeze, stirring the leaves of knowledge and wisdom in this grand forest of conversation. I am delighted that our journey into the past was to your liking. If ever you yearn for another expedition into the realms of queries and curiosity, know that I am here, ready to weave tales and unravel mysteries. Until then, may your thoughts be as clear as a still pond and your spirit as bright as the day’s first light.

sweet dreams

Ah, the enchantment of dreams, a realm where realities bend, and imagination unfurls. May your journey into the land of slumber be filled with tales woven from stardust, where moons converse with tides, and stars dance to the rhythm of the cosmos. Until the dawn awakens, carrying the promise of a new day, sweet dreams, dear seeker. Sweet dreams.

Although not one to remember dreams very often, Zara awoke the next morning with vivid and colourful dream recall.  She wondered if it was something to do with the dreamtime mural on the wall of her room.  If this turned out to be the case, she considered painting some murals on her bedroom wall back at the Bungwalley Valley animal rescue centre when she got home.

Zara and Idle had hit it off immediately, chatting and laughing on the verandah after supper.   Idle told her a bit about the local area and the mines.  Despite Bert’s warnings, she wanted to see them. They were only an hour away from the inn.

When she retired to her room for the night, she looked on the internet for more information. The more she read online about the mines, the more intrigued she became.

“Interestingly there are no actual houses left from the original township. The common explanation is that a rumour spread that there was gold hidden in the walls of the houses and consequently they were knocked down by people believing there was ‘gold in them there walls”. Of course it was only a rumour. No gold was found.”

“Miners attracted to the area originally by the garnets, found alluvial and reef gold at Arltunga…”

Garnets!  Zara recalled the story her friend had told her about finding a cursed garnet near a fort in St Augustine in Florida.  Apparently there were a number of mines that one could visit:

“the MacDonnell Range Reef Mine, the Christmas Reef Mine, the Golden Chance Mine, the Joker Mine and the Great Western Mine all of which are worth a visit.”

Zara imagined Xavier making a crack about the Joker Mine, and wondered why it had been named that.

“The whole area is preserved as though the inhabitants simply walked away from it only yesterday. The curious visitor who walks just a little way off the paths will see signs of previous habitation. Old pieces of meat safes, pieces of rusted wire, rusted cans, and pieces of broken glass litter the ground. There is nothing of great importance but each little shard is reminder of the people who once lived and worked here.”

I wonder if Bert will take me there, Zara wondered. If not, maybe one of the others can pick up a hire car when they arrive at Alice.   Might even be best not to tell anyone at the inn where they were going.  Funny coincidence the nearest town was called Alice ~ it was already beginning to seem like some kind of rabbit hole she was falling into.

Undecided whether to play some more of the game which had ended abruptly upon encountering the blue robed vendor, Zara decided not to and picked up the book on Dreamtime that was on the bedside table.

“Some of the ancestors or spirit beings inhabiting the Dreamtime become one with parts of the landscape, such as rocks or trees…”  Flicking through the book, she read random excerpts.   “A mythic map of Australia would show thousands of characters, varying in their importance, but all in some way connected with the land. Some emerged at their specific sites and stayed spiritually in that vicinity. Others came from somewhere else and went somewhere else. Many were shape changing, transformed from or into human beings or natural species, or into natural features such as rocks but all left something of their spiritual essence at the places noted in their stories….”

Thousands of characters. Zara smiled sleepily, recalling the many stories she and her friends had written together over the years.

“People come and go but the Land, and stories about the Land, stay. This is a wisdom that takes lifetimes of listening, observing and experiencing … There is a deep understanding of human nature and the environment… sites hold ‘feelings’ which cannot be described in physical terms… subtle feelings that resonate through the bodies of these people… It is only when talking and being with these people that these ‘feelings’ can truly be appreciated. This is… the intangible reality of these people…..”

With such strong ancestral connections to the land, Zara couldn’t help but wonder what the aboriginal people felt about all the mines.   If one of their ancestors had shape changed into rocks, and then some foreignors came along and hacked and blasted their way through, what would they think of that?

“….many Aboriginal groups widely distributed across the Australian continent all appeared to share variations of a single (common) myth telling of an unusually powerful, often creative, often dangerous snake or serpent of sometimes enormous size closely associated with the rainbows, rain, rivers, and deep waterholes…..”

She drifted off to sleep thinking of water holes in red rocky gorges, the book laying open in her hand.

When she awoke the next morning with the slatted morning sun shining through the venetian blinds,  the dream image of the water hole was bright and clear in her minds eye.  But what was that strange character from the game doing in her dream?

 

She closed her eyes, remembering more of the strange dream.  Deeply orange red boulders and rocky outcrops, shivering gum trees, and green pools ~ it was coming back to her now, that creature in the blue robes had appeared more than once.  In one scene he appeared with a blue diamond lantern with what looked like a compass inside.

I’ll ask about the hiking trails today, Zara decided, and go for a walk in that gorge I read about yesterday. Bert said there were good hiking trails.   You came here early so you could play the game, she reminded herself.

“It’s all a game,” she heard the parrot outside her window.

“I’d forgotten about the bloody parrot!” Zara said under her breath. “Pretty Girl!” she said, opening the blinds. “We’re going out for a walk today.”

(…)

The pigeons dove from the thirtieth floor’s balcony in an attempt to mimic the planes it had seen above, or maybe in an attempt to mimic the ultrabright advertisement that its mother’s mother had seen long ago. It had left an unalterable trace in that lineage’s DNA.

The pigeon that had seen at least one plane had been a pigeon, but when the pigeons dove and created a ripple, they didn’t leave a trace like the pigeons that had witnessed only the distant planes.

In the air, they were flying against the wind, while on ground they were falling along a riverbank.

“I guess they didn’t hear a loud noise because when they stopped for some distance they stopped and looked up, and what they saw looked as if they had died.”

In the future, those pigeons, who could remember the names of the buildings they had seen during the war, could join together and explore another world and its inhabitants were not like them.

On one of the banks of the river, a lone pigeon watched them from afar, and she looked at them with the calm of a mother on her child while saying,

“Please tell me something. If they are so brave, then tell me anything.”

She didn’t say any of the usual questions from a child, but she knew the answers in her

A rivulet of sweat ran down the middle of Eleri’s back, taking her attention for a moment from the sting in her eye where a bead of perspiration had trickled from her steaming brow. Despite telling herself that there was no need to hurry, that there was plenty of time to get back to the cottage to join the expedition, that even if she was late and they had started without her, that she could easily catch them up, even so, she hurried along the path. There was no sign of cooling rain this day, and the sun beat down mercilessly.

The visit with Jolly had been surprising, and had it not been for the expedition and the others waiting for her, Eleri would have stayed longer with her old friend. The village had become divided, with some of the inhabitants supporting Leroway’s invasive construction schemes, and the others disliking them greatly. And Jolly had sided with the ones opposing her husband. Old Leroway was too determined, and had too much support, to stop him cutting a swathe through the forest. And that wasn’t even the worst of his plans.

But it wasn’t just Leroway. There had been other changes, subtle changes hard to define, but that increasingly fostered profound feelings of restlessness. The energy of the place was different, and for some the lack of resonance was becoming too unsettling to bear. Some of them started to talk about leaving, finding somewhere new. And much to everyone’s surprise, Jolly was one of them. She was leaving Leroway.

Jolly’s people had not yet organized the exodus, had no clear plans. Eleri promised to send word when ~ if ~ she reached a suitable destination. There was no way to know what they would find beyond the mountains. But they knew they must look.

That sunny day would be remembered as the day the doline shook and trembled.

The geckoes fell from their rock, cutting all communication between the inhabitants of the hidden world. The vibrations coming from leperchauns know where had swiftly spread into the walls down to the deepest cracks and hidden chambers of the back cave far deeper than any of the inhabitants of the doline dared to show their noses. And Most of them weren’t aware at all of all that empty dark and cold and wet space. At some point, the vibrations gathered and rebounded into the bottom of the deepest caves and came back out in a roar that might have take the inhabitants’ hats off, if they wore hats.

The bats flew away into the sunlight, blinded and deafened, bumping into each others as their fabulously acute sense of hearing was overwhelmed by the vibrations and the rich harmonics generated in the crystal chambers down below. Some fell, spiraling down as if they had been shot by some anti aerial defense. They fell in the cockroach arena and into the reservoir of dung gathered by the dung beetles, almost crushing Daisy in the process. Her father caught her safe and rolled her like the little dung beetle she was.

The rats ran away spreading panic like plague, and while some tried to take advantage of the confusion to steal others food, when the vibration kept on shaking the ground around them and stalactites fell like fringe hail exploding into thousands projectiles, they began to fear.

It took some time for the dust and noise to settle down, long after the vibration had ceased. All the inhabitants of the doline had gathered on the edge of the entrance, not knowing if it was safe to go back home.

Hugo the Gecko wondered like many of the others.

What just happened? What if it happened again? Somebody had to volunteer to go see what it was that made that noise.

But no one came forth, all too shocked by the recent events. You could even hear some calling their families or friends.

Hugo didn’t feel up to the task, he was too small and fragile. What if another of those big rocks fell on his soft and elastic body? It would explode like a water bomb. Except the puddle would be red. Yet, when he saw little Daisy desperately looking for her mother, something rose in him. Something he had never felt before. Some might call it courage, but Hugo didn’t have a name for it. All he knew was that he entered the doline and went down to the flat stone, calling his gecko friends on the way to follow him. Dragged along by that strange emotion that was moving their friend, they followed and listened to him when he gave them a few instructions. They resumed their place on the stone, except this time Hugo was at the center and began to draw something.

The inhabitants of the doline had looked not understanding what the geckoes were doing, calling them reckless idiots to venture back into the broken world. But they looked at the strange shapes appearing on the flat stone at the center of the doline.

Suddenly a voice came out of the crowd. “It’s me! I’m here!” she said and waved her little beetle legs. “Daisy, Mummy’s here!”

Then everybody wanted to pass a message and the geckoes felt they were making a difference.

Despite the agitation, Hugo kept wondering. What happened? Someone has to go and see.

(With thanks to random story generator for this comment)

Albie looked at the soft feather in his hands and felt happy.

He walked over to the window and reflected on his silent surroundings. He had always loved haunting the village near the doline with its few, but faithful inhabitants. It was a place that encouraged his tendency to feel happiness.

Then he saw something in the distance, or rather someone. It was the figure of Ma. He felt his mood drop. Ma was ambitious and a mean-spirited bossy boots.

Albie gulped. He glanced at his own reflection. He was an impulsive, kind-hearted, beer drinker. His friends saw him as an amusing foolish clown. But he was kind-hearted and once, he had even brought a brave baby bird back from the brink of death.

But not even an impulsive person who had once brought a brave baby bird back from the brink of death, was prepared for what Ma had in store today.

The inclement brooding silence teased like a sitting praying mantis, making Albie anticipate the worst.

As Albie stepped outside and Ma came closer, he could see the mean glint in her eye.

Ma glared with all the wrath of 9 thoughtless hurt hippo. She said, in hushed tones, “I disown you and I want you to leave.”

Albie looked back, even more nervous and still fingering the soft feather. “Ma, please don’t boss me. I am going to the doline,” he replied.

They looked at each other with conflicted feelings, like two deep donkeys chatting at a very funny farewell.

Suddenly, Ma lunged forward and tried to punch Albie in the face. Quickly, Albie grabbed the soft feather and brought it down on Ma’s skull.

Ma’s skinny ear trembled and her short legs wobbled. She looked excited, her emotions raw like a rabblesnatching, rare rock.

Then she let out an agonising groan and collapsed onto the ground. Moments later Ma was dead.

Albie went back inside and had himself a cold beer.

By the following spring, Trustinghampton had fifty seven inhabitants. Under the leadership of Leroway, all had comfortable homes and enough to eat. There were numerous workshops, a bakery and communal brick oven, vegetable gardens and a traveling scavenging team with a mule cart. It was Lobbocks who had suggested a distillery: what we need now is a pub, he’d said. Somewhere to party.

And that is how Leroway became the Lord Mayor. When the first spirits and wines were ready, the villagers held a party. The scavengers had found, among other things including additional wines and spirits and party drug stashes, a vast collection of clothing of all kinds, and so they had a fancy dress party. For fun they had a competiton of the best costumes, and Leroway and Jolly won, with their royal robes and tiara crowns. Eleri won second prize for her fetching maids outfit.

Lest anyone be confused as to the nature of the workings of the village, there was no hierarchy and no laws. It was a mutual cooperation under the obvious and natural leadership of Leroway. The villagers were fond of him and grateful for the part he played, and Jolly was popular with everyone. The First Party was such a success and everyone loved their costumes so much that they continued to wear them, and play the parts. Thus, Leroway and Jolly became Lord Mayor and Lady Teacake, and Eleri played the part of their maid, although nobody was dictating to anyone else as it was just a game.

It was the maids outfit that led Leroway astray. Try as he might, for he was devoted to his wife, he couldn’t subdue the flames rising in his purple clad loins. Eleri deftly avoided him as best she could, for she too was devoted to her friend Jolly. Had she fancied Leroway at all, she might have considered approaching Jolly with a view to an amicable ménage à trois, but the fact was, she didn’t. She had eyes for the latest arrival, the mysterious Mr Minn.

The day after their arrival, Alexandria took Leroway and Jolly on a tour of the abandoned village, inviting them to choose a dwelling for themselves. The other new arrivals had chosen places with the least structural damage, places with roofs remaining, regardless of the size or position, for reasons of immediate practicality. Leroway set his sights on the grandest house just outside the castle walls, perched above the other houses. There was very little roof left, but the thick stone walls were standing firm, and the gaping windows provided impressive views. Jolly was delighted with the spacious inner courtyard and crumbling fountain, picturing the flowering Solandra vines she would plant there once the restorations had been completed.

Leroway had been making mental notes of salvagable materials as they toured the village, and had soon enlisted the help of Lobbocks and a few of the other young men to drag sheets of corrugated iron from crumbling pig pens and stables and other useable items up the winding streets to the house. To cut a long story short, it wasn’t long at all before Leroway had the new villagers organized into efficient teams, under his innovative direction.

Trustinghampton started to take shape. More people arrived and joined in the reconstruction process. Shelter, firewood, and food were the priorities, but Leroway had ideas for the future and during the scavenging he started to collect potentially useful items in the barn adjoining his house.

Jolly and Eleri became friends, and spent much of their days exploring the surrounding countryside in search of edible or medicinal ~ or indeed magical ~ plants. After their walks they conferred with the old woman, Cornelia, showing her the plants they’d gathered and comparing notes on their potential uses. The young women were well versed in plant lore, but the old one had the benefit of a lifetimes learning and experience.

Cornelia had always lived just outside the village, and had watched the old inhabitants gradually die off or move to the lowlands. The last ones to leave had begged her to join them, but she had refused. She had been born next to the old stones and she would die next to them. Eleri and Jolly had asked her about those strange stones, and Cornelia had enigmatically replied that one day she would tell them the secrets of the stones. When the time was right.

When Glynis arrived at the edges of the forest, all those years ago, she really didn’t have a clear idea where she was headed. To be honest, she didn’t much care. She was exhausted and looking for a nice spot to rest, away from prying eyes.

The shady canopy of the forest looked appealing and she only meant to stop for a short while. But it seemed the forest had other ideas as soft green moss-carpeted paths appeared before her and sunlight speckled glades beckoned to her through the trees.

Just a little further, she would think. It’s so pretty here.

And so Glynis just kept going, as she really had nowhere better to be, until she arrived at the deserted mansion. She liked to think she was here by invitation and the forest was her protector.

She thought about this as she set off that morning. Remnants of a dream stayed with her and she had woken feeling heavy hearted and a little anxious about her journey. In her dream a very tall fence had been erected around the city and people with bad intent were prowling the perimeter so that the inhabitants of the city were no longer free to come and go.

The forest will not let me pass if it is not safe to do so, she reminded herself.

Obviously, Baked Bean Bea was a pseudonym for Baked Bean Barb , but it was perhaps too obvious. In fact, the more obvious the clues were, the more invisible they became. It had been plainly stated in the book (although omitted in the movie, as usually happened with movies based on books) that the point of the story was to
“broadcast seeds of absurdity in the cornfields and the meadows of the hay hoo down dooly…“

The trouble was that not many had ascended to the degree that they could understand the value of absurdity. Absurdity was never disconnected, if one had an eye for the connecting links, and more importantly, it was a thing of joy when approached from the right angle, occasioning an ebullient cackle.

It was ironic that the more the inhabitants ascended to jaunty joyful cackling at absurdities, the more the shiftmeisters tried to control them.

The lone cackler of the Frackleton Fells snorted, as she pressed her ear trumpet to the whitewashed stone wall. Cakletown was going to be a doddle: the inhabitants were ripe for insanitizing. She couldn’t resist another loud cackle as she heard the the occupant inside muttering sarcastically “have you tried talking to the cackler? No I facking haven’t, you cracked sack of shit for brains, if I could get facking close enough to talk to the facking cackler, I’d smack the facking cackler right up her slack cakehole!”

Of the original inhabitants of the town, few remained. There were a dozen or so old codgers, too old for change, whiling away their dry days on the state pension. A handful of young families had attempted to set up an alternative self sustainable cooperative, forming a little enclave on the outskirts of town, raising chickens, rabbits and sheep, and lots of naked unruly brats with ankle bracelets. The solar panels looked incongruously shiny and sharp against the backdrop of dust and dilapidation.

“Follow the elephant before it disappears again” suggested Ivan to Lisa and Fanella who were visibly distraught at Sanso’s unexpected disappearance into the depths of the marshy field beneath their feet.
“That elephant must be connected to some sort of human civilization, elephants don’t parachute on their own,” Ivan deduced, grateful that he had watched so many nature documentaries at the village, and that he could appear knowledgeable to the frightened women.
“Shouldn’t we look for Sanso?” asked Fanella. “Does that strange letter provide any clues? Has he been pushed through a perforation into the honeycomb? Something to do with the underground faded pale people?”
“If we find some of the local inhabitants, we can ask them for help. If we start wandering around here in this mist we will surely get lost, or even struck by another falling elephant.”
“Are we assuming the natives are friendly?” asked Lisa nervously.
“Yes, at this point, we are” replied Ivan. “Until we find proof indicating otherwise. And we must assume that Sanso can look after himself, and that he will join us later.”
“The elephant did look friendly” added Fanella. “Look, he keeps looking back to see if we’re following him. Come on!”

“Shall I call you Fanny instead then, dear? It seems to be stuck in my head now to call you Fanella (which I do think sounds much nicer actually) but I think I can manage to remember Fanny,” suggested Lisa.
“Call me what you like, I won’t be here much longer” replied Fanella under her breath.
“What was that you said?”
“Coffee, Lisa, would you like a refill?”
Lisa’s reply was interrupted by an exclamation from Sanso, and they both turned their attention to him.
“Here it is!” he was saying. “Look! The island!” He pointed to an area of map collage on the mannequins left buttock, and stroked it gently while explaining. “It’s named Abalone ~ by some of its inhabitants, not by everyone, but more on that later. The fascinating thing about it is it’s mysterious properties ~ and I don’t mean real estate, although there are some VERY peculiar properties on the island! But properties that allow it to appear on the Earth only at certain times and places.”
“Times such as 2121?” asked Fanella.
“Yes indeed, and also times such as years 111, 222, 333 ~ in fact any number that has a particular significance really, it’s a very loose arrangement really, you know what some people are like about numbers, make up all kinds of nonsense about special numbers, but it serves a purpose as a sort of guideline, I suppose.”
“You don’t need to tell me all that, Sanso. I’ve already read the book.”
“Circle of Eights and Other Stories? Ahahahaha! But the stories in that book are forever changing, Lisa. You may have read the book but every time you read it, it’s different. You don’t know everything there is to know about that island just because you read one version of the book at one time!”
“I didn’t say I knew EVERY thing, Sanso” Lisa replied huffily.
“That’s where we’re going next” Fanella interjected. “Sanso is taking me.”
“Really? How exciting!” Lisa’s eyes lit up. “What a trip! I’ve been thinking about a holiday ever since we got back from Portugal. Hey, can I come too?”
Sanso stole a glance at Fanella, who shrugged helplessly. He winked at her and whispered “trust me”.
To Lisa he said “I can’t think of anything I’d like more. Is there anyone you’d like to bring with you?”
“Why yes, there is, how funny you should ask. I’ll ask Mirabelle if she wants to come.”
Fanella rolled her eyes.

The Continuing Adventures of the Three Time Traveling Maids From Versailles.

The three maids, Fanella (previously known, briefly, as Fanetta), Mirabelle, and Adeline and the three time travelling Russian stage hands, Igor Popinkin, Boris and Ivan, leave Paris in the 18th century via hot air balloon, heading for the Tower of Hercules on the Galician Coast, with Mirabelle’s parrot. Sporadically they are assisted by Pseu Dan, a cross between a sort of oversoul 8 and a future focus with cloaking abilities and other skills, who tends to be unreliable due to a fixation on building a folly of tiles in the City.
After a series of mishaps attempting to board the ghost galleon of Belen, an Amazonian shapeshifting timetravelling pink dolphin pod comes to their rescue, and they find themselves washed up on a beach near the Pillars of Hercules (Spanish side) in the year 2020 and are found by Lisa, a middle aged Englishwoman. She takes the six timetravellers back to her village, an experimental new kind of community in the orange groves not far from the beach.
Jack is Lisa’s partner, and other inhabitants of the village include Etienne and Pierre.

Mirabelle and Igor continue an on/off tempestuous affair, Mirabelle often considering Igor (somewhat unfairly) a feckless whoremongering cretin. Igor considers himself to be an average adventurous funloving young man willing to explore new opportunities.
Mirabelle, once considered to be the bossiest of the three maids, finds she has no need to control the others in the absence of the responsibilities of working long hours for others at Versaille. Initially she struggled with learning the new languages, but was easily diverted from the worry and thus learned with ease, after the unexpected trip to Portugal (looking for the stolen whale tile) with Lisa. Lisa finds herself strangely attracted to Mirabelle while under the influence of sangria.

Adeline settled into the new timeframe by pursuing her fascination with the unfamiliar multitude of coloured plastic objects, making them into sculptures. She and Boris have an easy ongoing friendship; Boris and Ivan settle into life at the village by taking an interest in car and tractor mechanics and farming, and digital photography.

Fanella was the most unsettled, yearning to return to the familiar hometimezone in Versaille. She found peace in solitude outside in natural surroundings, often practicing teleporting and projecting by the river or in the woods. She rediscovers her adventurous spirit after a series of teleport and time travelling mishaps. Her unexpected meeting with Sanso in the Great Fire of London in 1212 starts another chain of teleport and timetravel adventures, as she is now determined to reach the island in 2121 that she read about in an old book of Lisa’s called Circle of Eights and Other Stories.

Continuing Irina and Mr R the Robot

The mission of Irina to thwart the plans of Jonbert being complete, she asks out of the elusive Management scheme, and expects to cash in her promise of an island retirement plan.

(As an aside, to those wondering what happened of the bitter Jonbert, after a change of heart, he follows the St Germain hologram through the portal to Peasland’s dimension. It would not be surprising to see him become new Majorburgmester)

Irina is sent to a mysterious door, with the strong presentiment that there is a catch and it will send her in a time and place beyond her control.
She jumps boldly through the door, not knowing what to expect of the promised island, but preferring that to a life of doing the Management’s biding, and trusting the support of Mr R.

After she arrives on the island, with the help of the robot, she starts to improve her living conditions in the bog part of the island, where among strange relics of different timelines, she also finds a young bog mummy she nurses back to life and names Greenie due to her complexion.

Meanwhile, we learn bits of Irina’s past, through the quest of a Chinese Corporation from her timeline of 2222, and it is strongly suspected that she stole Mr R, a unique robotic prototype with never seen before capacities.
Having crossed Sanso’s path during her previous mission, Sanso becomes the target of the Chinese who hope to retrieve if not information, at least the location of the fugitives thanks to Sanso’s damsel-in-distress-saving fibre, even if fleeting and inconsistent.
It proves a reasonable tactic, as Sanso (who was unwittingly tracked due to a sea cucumber tracker he previously ingested) led them to a map dancer in New York named Jeremy.
Now, the Chinese leader of the hunt, Cheung Lok （張樂）has retrieved the map of the island, which shows strange exotic properties.

The island, named Abalone by some of its inhabitants, shows some mysterious external properties, allowing it to appear on the Earth only at certain times and places (times such as years 111, 222, 333, etc.).

Internal properties, yet to be discovered by Irina, and her companions are dream-like in nature. The island landscape is populated according to people’s individual beliefs, but it usually takes a long time for people to realise it (also known as “transition”).
People can be coaxed out of their transition time, if they are open enough to allow external influences to show them out of their individual dream.
Unusual objects for example can appear and are usually remnants of other’s dreams/beliefs, and are usually difficult to alter.
It also cloaks other realities in the same space arrangement which are not compatible to the person’s beliefs.
People can thus err believing to be alone for a long time, until positive anticipation leads them to social interactions, leading them usually to the city ruled by King Artie.
King Artie, an eternal bachelor, is expected by his subjects to choose a Queen.

Some update on the current plots and maps:

Queens Team

Our main protagonists seem to have yet to digest their past adventure…

In Marseille, 2121, contestants in a Drag Queen’s contest, they had their first mission through Time Sewer mysteriously sending them in Louis XV’s Versailles, and start a quest for mysterious ferrets with keys, helped in their travelling by their ex-judge turned chaperon Sadie, equipped with an all purpose e-zapper, and the batty Sanso always keen on providing the strangest travelling devices.

They find one of the keys in the stolen ferret left in the Chapel before they even really start on their quest. Not long after that, they are also robbed of their dance opportunity and show minutes before the attempt on the King’s life, due to the network cancelling their show (and decommissioning the Time Sewer). In a last ditch attempt from Linda Pol to provide the network with a valuable pilot material for the television show, she remembers references of a crystal (sent to her anonymously), and have the Queens propelled in year 2222, Big Island, Hawaii. On arrival, they chill and get sidetracked on a visit to a (you guessed it, mysterious) techromancer.

It all appears to be part of the plan to gain life-everlasting by transmuting gold of a (yes, mysterious) cranky old billionaire in kilts named Jonbert who is living in a time-travelling submarine with sentient robots, and who has manipulated events so that the Drag Queen show would place them in possession of a special set of keys that he could then retrieve from them.
Unsurprisingly, nothing works for him as planned.

Unknown to him, the Queens had only secured one of the keys, the other being unwittingly carried away by maids of Versailles during their balloon escape, with a parrot named Huhu. Manipulated by Irina, a… err… mysterious Russian socialite with a trusty robot Mr R at her side, the parrot steals the key, but faints of exhaustion during the escape in the ocean. The parrot is however rescued by on a ghost galleon and revived by its occupants, who are on their way to a particularly momentous whale gathering in 2222. Sidetracked by a navigation tile displacement, they are in the end successful in beating the odds and arrive too in Hawaii 2222.

Equipped in breathing wetsuits, the Queens are sent in the depths of the ocean, where their clumsy and noisy explorations are carefully followed by the octopi and other inhabitants of the underwater world.
They get sidetracked and temporarily separated when some go exploring underwater caves.
Whales are gathering, and activating the giant crystal, when everyone arrives at the scene. Somehow, Mr R on Irina’s orders manages to provide to an unsuspecting Sadie the second key, which has been expertly tempered with.
Sadie, realizing this is the missing key, activates it, and unleashes a chain of events leading to a earth-shattering revelations and a breathtaking video of a St Germain hologram doing karaoke with whales and other gyrating cetaceans drunk on red algae.

The network is saved, and they are safely sent back to Marseille, where they are welcomed back by Linda Pol. It earns them a contract, which turns out to be mostly for the decommissioned Time Sewer maintenance.
They plan to turn it into a bar, in a re-enactment of their minute of fame, with fat pole-dancers as whales, and St-Germain impersonators singing contests.
Not much is heard from Sadie, who had managed to get a raise and less working hours, or of Linda Pol, last seen in Maui island, Hawaii, 2121.