Search Results for 'rest'

During the renovations on Brightwater Mill Truella’s parents rented a cottage nearby. It was easier to supervise the builders if they were based in the area, and it would be a nice place for Truella to spend the summer. One of the builders had come over from Ireland and was camping out in the mill kitchen.  He didn’t mind when Truella got in the way while he was working, and indulged her wish to help him. He gave her his smallest trowel and a little bucket of plaster, not minding that he’d have to fix it later. He was paid by the hour after all.

When the builder mentioned that his daughter Frigella was the same age, Truella’s mother had an idea.  Truella needed a little friend to play with, to keep her from distratcing the builders from their work.

And so a few days later, Frigella arrived for the rest of the summer holidays. He father continued to camp out in the mill, and Frigella stayed with Truella.  But even with the new friend to play with, Truella still wanted to plaster the walls with her little trowel.  Frigella didn’t want to stay cooped up all day in the dusty mill with her father keeping an eye on her all day, and suggested that they go and dig a hole somewhere in the garden to find treasure.

Truella carried the little trowel around with her everywhere she went that summer, and Frigella started to call her Trowel.  Truella retaliated by calling her friend Fridge Jelly, saying what a silly name it was.  It wasn’t until she burst into tears that Truella felt remorseful and kindly asked Frigella what she would like to be called, but it had to be something that didn’t remind Truella of fridges and jellys. Frigella admitted that she’s always hated the G in her name and would quite like to be called Frella instead.   Truella replied that she didn’t mind being called Trowel though, in fact she quite liked it.

The girls spent many school summer holidays together over the years, but it wasn’t until Truella was older and staying in one of the apartments with a boyfriend that she found the trunk in the attic.  She put it in the boot of the car without opening it. She only had the weekend with the new guy and there were other activities on the agenda, after all.  Work and other events occupied her when she returned home, and the trunk was put in a closet and forgotten.

“Well, it’s a long story, are you sure you want to hear it?”

“Tell me everything, right from the beginning. You’re the one who keeps saying we have plenty of time, Truella. I shall quite enjoy just sitting here with a bottle of wine listening to the story,” Frigella said, feeling all the recent stress pleasantly slipping away.

“Alright then, you asked for it!” Truella said, topping up their glasses.  The evening was warm enough to sit outside on the porch, which faced the rising moon. A tawny owl in a nearby tree called to another a short distance away.  “It’s kind of hard to say when it all started, though. I suppose it all started when I joined that Arkan coven years ago and the focus wasn’t on spells so much as on time travel.”

“We used to travel to times and places in the past,” Truella continued, “Looking back now, I wonder how much of it we made up, you know?” Frigella nodded. “Preconceptions, assumptions based on what we thought we knew.  It was fun though, and I’m pretty sure some of it was valid. Anyway, valid or not, one thing leads to another and it was fun.

“One of the trips was to this area but many centuries ago in the distant past.  The place seemed to be a sort of ancient motorway rest stop affair, somewhere for travellers to stay overnight on a route to somewhere.  There was nothing to be found out about it in any books or anything though, so no way to verify it like we could with some of our other trips.  I didn’t think much more about it really, we did so many other trips.  For some reason we all got a bit obsessed with pyramids, as you do!”

They both laughed. “Yeah, always pyramids or special magical stones,” agreed Frigella.

“Yeah that and the light warriors!” Truella snorted.

“So then I found a couple of pyramids not far away, well of course they weren’t actually pyramids but they did look like they were.  We did lots of trips there and made up all sorts of baloney between us about them, and I kept going back to look around there.  We used to say that archaeologists were hiding the truth about all the pyramids and past civilizations, quite honestly it’s a bit embarrassing now to remember that but anyway, I met an actual archaeologist by chance and asked her about that place.  And the actual history of it was way more interesting than all that stuff we’d made up or imagined.

The ruins I’d found there were Roman, but it went further back than that. It was a bronze age hill fort, and later Phoenician and Punic, before it was Roman.  I asked the archaeologist about Roman sites and how would I be able to tell and she showed me a broken Roman roof tile, and said one would always find these on a Roman site.

I found loads over the years while out walking, but then I found one in the old stone kitchen wall.  Here, let me fetch another bottle.” Truella got up and went inside, returning with the wine and a dish of peanuts.

“So that’s when I decided to dig a hole in the garden and just keep digging until I found something.  I don’t know why I never thought to do that years ago. I tell you what, I think everyone should just dig a hole in their garden, and just keep digging until they find something, I can honestly say that I’ve never had so much fun!”

“But couldn’t you have just done a spell, instead of all that digging?” Frigella asked.

“Oh my god, NO!  Hell no!  That wouldn’t be the same thing at all,” Truella was adamant. “In fact, this dig has made me wonder about all our spells to be honest,  are we going too fast and missing the finds along the way?  I’ve learned so much about so many things by taking it slowly.”

“Yeah I kinda know what you mean, but carry on with the story. We should discuss that later, though.”

“Well, I just keep finding broken pottery, loads of it. We thought it was all Roman but some of it is older, much older.  I’m happy about that because I read up on Romans and frankly wasn’t impressed.  Warmongering and greedy, treated the locals terribly. Ok they made everything look nice  with the murals and mosaics and what not, and their buildings lasted pretty well, but who actually built the stuff, not Romans was it, it was the slaves.  Still, I wasn’t complaining, finding Roman stuff in the garden was pretty cool.  But I kept wishing I knew more about the people who lived here before they came on the rampage taking everything back to Rome.  Hey, let me go and grab another bottle of wine.”

Frigella was feeling pleasantly squiffy by now. The full moon was bright overhead, and she reckoned it was light enough to wander around the garden while Truella was in the kitchen.  As she walked down the garden, the tawny owl called and she looked up hoping to see him in the fig tree. She missed her step and fell over a bucket, and she was falling, falling, falling, like Alice down the rabbit hole.

The fall was slow like a feather wafting gently down and she saw hundreds of intriguing fragments of objects and etchings and artefacts on the sides of the hole and she drifted slowly down.  At last she came to rest at the bottom, and found herself in an arched gallery of mirrors and tiles and doors. On every surface were incomplete drawings and shreds of writings, wondrous and fascinating.  She didn’t immediately notice the hippocampus smiling benignly down at her.   He startled her a little, but had such a pleasant face that she smiled back up at him.  “Where am I?” she asked.

“You’d be surprised how many people ask me that.” he replied, with a soft whicker of mirth. “Not many realise that they’ve called on me to help them navigate.  Now tell me, where is it you want to go?”

“Well,” Frigella replied slowly, “Now that you ask, I’m not entirely sure.  But I’m pretty sure Truella would like to see this place.”

 

The full moon was rising behind the mountains as Frigella turned off the road for the last lap of the journey down a dirt track.  Daunted at first by the thought of the long drive, the prospect of a weeks holiday had lifted her spirits. There was altogether too much going on of late for a simple country hedge witch, and that carnaval mayhem had made her grumpy and withdrawn, but the drive had restored her equilibrium.

Truella rolled down the passenger window and laughed as the cool night air rushed in.  “Nearly there now, I can hardly believe I made it back in one piece.”

“You and me both,” laughed Frigella.  “There’s nothing I fancy more now than a couple of glasses of your lovely red wine but we’d better make a start on the spell to bring Roger back right away. This moon is perfect tonight.”

“I can’t see any reason why we can’t do both,” Truella grinned.  Frigella started to object, and then stopped herself. They had arrived and she was on holiday and she deserved to sit and enjoy a drink with her friend and her responsibilities and obligations would just have to wait, at least for an hour or two.

“Why not indeed,” she said, “Why the hell not.  You can tell me about finding the hippocampus statue in the dig. Great timing I must say, and the smoked hippo bones as well, just when we need to use that spell.”

“And a full moon as well. And it’s full all night long, we have plenty of time.”

Truella had already left for that monkey hunt in the Mediterranean. Eris had to go back before nightfall, which was quite early at this time of year as she had chosen to live in such a remote place in the midst of a frozen forest. Jeezel only thought it romantic because of the icicles that would form on your eyelashes and brows, making you the perfect avatar for the Snow Queen musical. And Frigella… She said she was tired but from the sight of her aura, she undoubtedly was onto something fishy.

Jeezel looked at her dress. Once a divine creation, it has turned into a disaster. Irremediably stained with soot, it’s foul smell would make any dragon lose their appetite. She felt a mix of sadness and guilt for all the murex that gave their shells for that unique shade of purple she was so proud of.

She wasn’t sure even Teddy Steambolt could muster his magic to save the divine creation. She imagined his eyes widen as saucers when she entered his Palace of Pristine with the lifeless garment in her arms. He would most certainly swoon and gasp at the same time.

“Oh, The tragedy!” he would wail, his high-pitched lament resonating in the cathedral ceiling of his atelier of cleanliness. “What calamity hath befallen this exquisite creation?”

“Teddy, dear,” she would say, “It was indeed a tragedy. I lost seven of my nails and my hair was ruined. You’re the alchemist of cleanliness, you’re my only hope for a miracle.”

And he would take her dress and perform his magic from which it would emerge reborn, and all those murex wouldn’t have lost their home for nothing.

She was about to follow the others when Malové reminded her: “Aren’t you forgetting something?”

A broom and a bucket of black soap were floating on her right.

Her sigh would have made a blue whale blush with envy. Her role tonight would not be the Snow Queen, but Cinderella, another of her favourite diva.

“Would you be looking for me?”

Cedric jumped. Where on earth had she come from? It was the blond witch from the cafe, but what was she doing sneaking up behind him when he’d seen her rushing off down the street not a minute before! And yet here she was, smirking at him like butter wouldn’t melt!

He studied her. She wasn’t conventionally pretty he decided, with her thin, sharp features. And she had no meat on her bones. Cedric liked women who were soft and had a bit of something he could squeeze. And she was so … white … almost like one of those albinos … still, there was something he found strangely compelling about her.

She’s a witch, he reminded himself. “What on earth gave you the idea I was following you?” He twisted his mouth into an amused sneer, hoping it showed the contempt she surely deserved.

“You’re not then?” Her gaze was unswerving and Cedric had to look away, pretending to take a great interest in a black poodle peeing on a nearby lamp post. Cedric liked dogs and up until six months ago had a miniature schnauzer called Mitzy. Thinking of Mitzy, he felt the familiar little squeeze in his chest.

“I’m Frigella O’Green,” she said, still studying him intently.

Reluctantly he pulled his gaze back towards her. “Oh, ah … Cedric … just Cedric.” He’d nearly told her his surname which didn’t seem a good idea, all things considered.  Out of habit, he raised his hand to take hers, then remembering, thrust it awkwardly in his jacket pocket.

“Well, just Cedric, if you’re not looking for me, I’ll be off … I’m in a bit of a hurry.” Then she smiled at him, properly this time, and Cedric wondered why he hadn’t thought she was pretty a moment ago. “Nice hat by the way, Cedric. Stylish.” She turned then and Cedric watched her stride down the street until she was no longer visible. Distractedly he brushed the wool tweed of his cap.

Frigella O’Green is a witch, Cedric, he told himself sternly.

Cedric peered through the peephole in his newspaper. He’d have recognised that bogwitch anywhere. Drat that blonde one grabbing her arm, he’d have been able to catch her red handed and arrest her.

Cedric was ambitious.  He’d been working for MAMA for thirty years as an agent and wanted a promotion, a nice cushy office job where he could sit in comfort dishing out orders.  He’d had enough of traipsing round the countryside and sitting in draughty pubs in the back of beyond and felt it was high time that the Ministry for the Abolition of the Magical Arts recognised his potential as a leader.

Who was that blonde one anyway? Another bogwitch no doubt, covens springing up everywhere these days, defying proper law and order, it was an outrage.  She hadn’t seemed too happy to see that old tart Aggie, though. Maybe there was a rift between covens that he could exploit for his own ends.  Cedric decided to keep an eye on her, perhaps mislead her into thinking he was on her side.  It gave him a frisson of pleasure to think how clever he would look when he made his report.

Frigella her name was, Cedric heard Aggie ask her why she was rushing off.

“Gottta run, I’m babysitting. And just you behave yourself Aggie, I told you, we don’t do things like that around here. It’s witches like you that give us all a bad name.”

Cedric rolled his newspaper up and pulled his deerstalker hat low over his eyes and followed Frigella out onto the street.

So engrossed was Truella in her project at home, she had failed to notice that there had been no word for days from Eris about her new ritual.  Not only did Eris not turn up for the obligatory daily meetings, she hadn’t even kept the rest of the witches informed of developments. The last anyone had heard about it was that there was a quality control issue, whatever that meant.

So there we have it, my dear,  interjected Lisia. Eris’s new ritual spell is a work in progress, a symphony of the arcane and the algorithmic, and we are but eager spectators to its unfolding. One can only hope for a harmonious outcome, or at the very least, a tale worth the telling.

One can only hope, muttered Truella.  We can hardly be expected to read her mind if she doesn’t keep us abreast of developments!

Eris, a sorceress of the digital age, has been blending the ancient art of incantation with the pulsing rhythms of technology….

So tell me something I didn’t know, Lisia, the question is, where is she up to now with it?  Or perhaps she’s told the others, and not told me?  I wonder if Frigella and Jezeel know anything?

It’s a spell of both preservation and progress, a paradoxical potion that encapsulates the dichotomy of our current condition…..

Our current position, Truella sighed, Is that we don’t know what’s going on. If only Eris would come to the next meeting and spill the beans.  How can I possibly try to incorporate my own spells into it if I don’t know what the current situation is?

Maybe she’s been to Normandy collecting ingredients. I’ve heard the hellebore there are quite the best, Imp butted in, making Lisia wince.  He was so on point and not nearly wordy enough.

“And that, my Dear Reader, is why, even to this day, a traffic cone is called a witches hat.”

It was the boy’s favourite bed-time story and Frigella had read it so many times she knew it nearly by heart. She twisted her neck so she could look down on the child; his breathing was soft, the bedside light illuminated long white lashes resting on chubby cheeks. Slowly… silently, she closed the book, switched off the night lamp and edged herself from the bed. She was very keen to log on to the Ritual and see what progress, if any, Eris had made.

The encounter with Truella and Jeezel that afternoon down at the Cabbage had disturbed her. It was not like them … Truella pouting and mutinous, Jeezel swaggering in so full of her own self-importance. And herself! Blushing and snorting and carrying on for no reason when it was her very nature to be composed. They had always worked as a team, the four of them; it was their strength.

Was some powerful magic afoot that had got through their protection? Perhaps Eris had found something. Her nose twitched and she realised she could still smell it, a pungent uneasiness. Like stale smoke.

“Aunt Friggy?”

She sighed. Her brother had made her promise not to use magic on the child but surely just a wee sprinkle of moon dust couldn’t hurt?

“Yes Conor?”

“Are witches true?”

She sat down on the bed.

“What does your Daddy say?” She stroked the child’s yellow-blond hair. Silky, like her own. He looked more like her than he did his own parents with his alabaster skin and eyes that changed colour like the sea. Always watching he was too, as though he was looking to the very heart of a matter. Just like herself. She was sure he had inherited the gift but Lorcon was having none of that nonsense and had told her so in no uncertain terms. The boy would suffer for it in time though. Just like she had when it had been denied.

“He said Conor don’t be so daft.”

Of course he did. Lorcon clung frantically to his normal life with his normal wife. Tonight she was baby-sitting Conor while they went on a normal date night. Still, she should not be so hard on Lorcon; it was a strange upbringing they’d had themselves.

She kissed the boy’s forehead and breathed deeply. The sweet scent of night jasmin washed over her. At least she’d be there for Conor. The thought consoled her.

“Shall I leave the light on for you, Poppet?”

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.

“It’s you!” Youssef laughed when Zara replied to his application for the job uncovering a lost civilization.  “What are you doing sending me spam like that?”

“I knew you wouldn’t be able to resist,” Zara smiled. “You won’t believe what I’ve found. Nobody is going to beleive it.  But I need some extra hands.”

“But you could have just asked me!” Youssef replied.

“Well, I was sitting here having a banana eating scroll…”

“Never have a banana eating scroll, it’s a dangerous combination. ”

“Sounds like a llama munching a burrito, but more dangeous,”  Xavier had appeared in the chat window, with his customary perfect timing.

“I don’t fancy Australia though, after the Tartiflate debacle,” Youssef said.

“It’s Tasmoania, not Australia.  A different kettle of fish entirely. Look what I found today. Damn, no banana for scale, I just ate it.”

 

“What is it? And who’s the old guy?” Youssef asked.

“That’s Havelock Gnomes, he’s an expert on undiscovered civilizations.  He’s come over specially from New Zipland to help with the investigation.  He plays the violin, too.”

“Wasn’t Xavier supposed to find that for his mission?” Yasmin had joined the chat.

“Precisely, Yassie,  that’s why he’s coming over too.  Well, maybe something LIKE that, we don’t know yet.”

“Yes, but what IS that thing?” Yasmin asked.

“I am?” It was news to Xavier, but he rolled the idea round in his mind with a growing interest.  He was due for some time off and had been wondering what to do. “That thing looks like the burrito I mentioned earlier.”

“How prescient of you, Xavi!” Yasmin exclaimed rather cheekily.

“That’s no burrito!  Nothing like this has ever been found before!”

“Yes BUT WHAT IS IT?”

“Yas, Havelock thinks it might be…. well I am not going to spill the beans, but we need help to uncover the rest of it.  Do say you’ll come, all of you!”

“Sounds like quite the picnic, what with kettles of fish, beans, burritos and bananas.  I’m in!” announced Youssef.