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In reply to: The Last Cruise of Helix 25
Helix 25 – The Lexican Quarters – Anuí’s Chambers
Anuí Naskó had been many things in their life—historian, philosopher, linguist, nuisance. But a father? No. No, that was entirely new.
And yet, here they were, rocking a very tiny, very loud creature wrapped in Lexican ceremonial cloth, embroidered with the full unpronounceable name bestowed upon it just moments ago: Hšyra-Mak-Talún i Ešvar—”He Who Cries the Arrival of the Infinite Spiral.”
The baby did, indeed, cry.
“Why do you scream at me?” Anuí muttered, swaying slightly, more in a daze than any real instinct to soothe. “I did not birth you. I did not know you existed until three hours ago. And yet, you are here, squalling, because your other father and your mother have decided to fulfill the Prophecy of the Spiral Throne.”
The Prophecy. The one that spoke of the moment the world would collapse and the Lexicans would ascend. The one nobody took seriously. Until now.
Zoya Kade, sitting across from them, watched with narrowed, calculating eyes. “And what exactly does that entail? This Lexican Dynasty?”
Anuí sighed, looking down at the writhing child who was trying to suck on their sleeves, still stained with the remnants of the protein paste they had spent the better part of the morning brewing. The Atrium’s walls needed to be prepared, after all—Kio’ath could not write the sigils without the proper medium. And as the cycles dictated, the medium must be crafted, fermented, and blessed by the hand of one who walks between identities. It had been a tedious, smelly process, but Anuí had endured worse in the name of preservation.
“Patterns repeat, cycles fold inward.” “Patterns repeat, cycles fold inward. The old texts speak of it, the words carved into the silent bones of forgotten tongues. This, Zoya, is no mere madness. This is the resurgence of what was foretold. A dynasty cannot exist without succession, and history does not move without inheritors. They believe they are ensuring the inevitability of their rise. And they might not be wrong.”
They adjusted their grip on the child, murmuring a phrase in a language so old it barely survived in the archives. “Tz’uran velth ka’an, the root that binds to the branch, the branch that binds to the sky. Our truths do not stand alone.”
The baby flailed, screaming louder. “Yes, yes, you are the heir,” Anuí murmured, bouncing it with more confidence. “Your lineage has been declared, your burden assigned. Accept it and be silent.” “Well, apparently it requires me to be a single parent while they go forth and multiply, securing ‘heirs to the truth.’ A dynasty is no good without an heir and a spare, you see.”
The baby flailed, screaming even louder. “Yes, yes, you are the heir,” Anuí murmured with a hint of irritation, bouncing the baby awkwardly. “You have been declared. Please, cease wailing now.”
Zoya exhaled through her nose, somewhere between disbelief and mild amusement. “And in the middle of all this divine nonsense, the Lexicans have chosen to back me?”
Anuí arched a delicate brow, shifting the baby to one arm with newfound ease. “Of course. The truth-seeker is foretold. The woman who speaks with voices of the past. We have our empire; you are our harbinger.”
Zoya’s lips twitched. “Your empire consists of thirty-eight highly unstable academics and a baby.”
“Thirty-nine. Kio’ath returned from exile yesterday,” Anuí corrected. “They claim the moons have been whispering.”
“Ah. Of course they have.”
Zoya fell silent, fingers tracing the worn etchings of her chair’s armrest. The ship’s hum pressed into her bones, the weight of something stirring in her mind, something old, something waiting.
Anuí’s gaze sharpened, the edges of their thoughts aligning like an ancient lexicon unfurling in front of them. “And now you are hearing it, aren’t you? The echoes of something that was always there. The syllables of the past, reshaped by new tongues, waiting for recognition. The Lexican texts spoke of a fracture in the line, a leader divided, a bridge yet to be found.”
They took a slow breath, fingers tightening over the child’s swaddled form. “The prophecy is not a single moment, Zoya. It is layers upon layers, intersecting at the point where chaos demands order. Where the unseen hand corrects its own forgetting. This is why they back you. Not because you seek the truth, but because you are the conduit through which it must pass.”
Zoya’s breath shallowed. A warmth curled in her chest, not of her own making. Her fingers twitched as if something unseen traced over them, urging her forward. The air around her thickened, charged.
She knew this feeling.
Her head tipped back, and when she spoke, it was not entirely her own voice.
“The past rises in bloodlines and memory,” she intoned, eyes unfocused, gaze burning through Anuí. “The lost sibling walks beneath the ice. The leader sleeps, but he must awaken, for the Spiral Throne cannot stand alone.”
Anuí’s pulse skipped. “Zoya—”
The baby let out a startled hiccup.
But Zoya did not stop.
“The essence calls, older than names, older than the cycle. I am Achaia-Vor, the Echo of Sundered Lineage. The Lost, The Twin, The Nameless Seed. The Spiral cannot turn without its axis. Awaken Victor Holt. He is the lock. You are the key. The path is drawn.
“The cycle bends but does not break. Across the void, the lost ones linger, their voices unheard, their blood unclaimed. The Link must be found. The Speaker walks unknowingly, divided across two worlds. The bridge between past and present, between silence and song. The Marlowe thread is cut, yet the weave remains. To see, you must seek the mirrored souls. To open the path, the twins must speak.”
Achaia-Vor. The name vibrated through the air, curling through the folds of Anuí’s mind like a forgotten melody.
Zoya’s eyes rolled back, body jerking as if caught between two timelines, two truths. She let out a breathless whisper, almost longing.
“Victor, my love. He is waiting for me. I must bring him back.”
Anuí cradled the baby closer, and for the first time, they saw the prophecy not as doctrine but as inevitability. The patterns were aligning—the cut thread of the Marlowes, the mirrored souls, the bridge that must be found.
“It is always the same,” they murmured, almost to themselves. “An axis must be turned, a voice must rise. We have seen this before, written in languages long burned to dust. The same myth, the same cycle, only the names change.”
They met Zoya’s gaze, the air between them thick with the weight of knowing. “And now, we must find the Speaker. Before another voice is silenced.”
“Well,” they muttered, exhaling slowly. “This just got significantly more complicated.”
The baby cooed.
Zoya Kade smiled.
In reply to: Helix Mysteries – Inside the Case
Helix 25 – Investigation Breakdown: Suspects, Factions, and Ship’s Population
To systematically investigate the murder(s) and the overarching mystery, let’s break down the known groups and individuals, their possible means to commit crimes, and their potential motivations.
1. Ship Population & Structure
Estimated Population of Helix 25
- Originally a luxury cruise ship before the exodus.
- Largest cruise ships built on Earth in 2025 carried ~5,000 people.
Space travel, however, requires generations. - Estimated current ship population on Helix 25: Between 15,000 and 50,000, depending on deck expansion and growth of refugee populations over decades.
- Possible Ship Propulsion:
- Plasma-based propulsion (high-efficiency ion drives)
- Slingshot navigation using gravity assists
- Solar sails & charged particle fields
- Current trajectory: Large elliptical orbit, akin to a comet.
Estimated direction of the original space trek was still within Solar System, not beyond the Kuiper Belt (~30 astrological units) and programmed to return towards it point of origin.
Due to the reprogramming by the refugees, it is not known if there has been significant alteration of the course – it should be known as the ship starts to reach the aphelion (farthest from the Sun) and either comes back towards it, or to a different course.
- Question: Are they truly on a course out of the galaxy? Or is that just the story Synthia is feeding them?
Is there a Promised Land beyond the Ark’s adventure?
2. Breaking Down People & Factions
To find the killer(s), conspiracies, and ship dynamics, here are some of factions, known individuals, and their possible means/motives.
A. Upper Decks: The Elite & Decision-Makers
- Defining Features:
- Wealthy descendants of the original passengers. They have adopted names of stars as new family names, as if de-facto rulers of the relative segments of the space.
- Have never known hardship like the Lower Decks.
- Kept busy with social prestige, arts, and “meaningful” pursuits to prevent existential crisis.
Key Individuals:
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- Means: Extensive social connections, influence, and hidden cybernetic enhancements.
- Motive: Could be protecting something or someone—she knows too much about the ship’s past.
- Secrets: Claims to have met the Captain. Likely lying… unless?
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- Means: Expert geneticist, access to data. Could tamper with DNA.
- Motive: What if Herbert knew something about her old research? Did she kill to bury it?
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Ellis Marlowe (Retired Postman) –
- Means: None obvious. But as a former Earth liaison, he has archives and knowledge of what was left behind.
- Motive: Unclear, but his son was the murder victim. His son was previously left on Earth, and seemed to have found a way onto Helix 25 (possibly through the refugee wave who took over the ship)
- Question: Did he know Herbert’s real identity?
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Finkley (Upper Deck cleaner, informant) –
- Means: As a cleaner, has access everywhere.
- Motive: None obvious, but cleaners notice everything.
- Secret: She and Finja (on Earth) are telepathically linked. Could Finja have picked up something?
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The Three Old Ladies (Shar, Glo, Mavis) –
- Means: Absolutely none.
- Motive: Probably just want more drama.
- Accidental Detectives: They mix up stories but might have stumbled on actual facts.
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Trevor Pee Marshall (TP, AI detective) –
- Means: Can scan records, project into locations, analyze logic patterns.
- Motive: Should have none—unless he’s been compromised as hinted by some of the remnants of old Muck & Lump tech into his program.
B. Lower Decks: Workers, Engineers, Hidden Knowledge
- Defining Features:
- Unlike the Upper Decks, they work—mechanics, hydroponics, labor.
- Self-sufficient, but cut off from decisions.
- Some distrust Synthia, believing Helix 25 is off-course.
Key Individuals:
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Luca Stroud (Engineer, Cybernetic Expert) –
- Means: Can tamper with ship’s security, medical implants, and life-support systems.
- Motive: Possible sabotage, or he was helping Herbert with something.
- Secret: Works in black-market tech modifications.
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Romualdo (Gardener, Archivist-in-the-Making) –
- Means: None obvious. Seem to lack the intelligence, but isn’t stupid.
- Motive: None—but he lent Herbert a Liz Tattler book about genetic memories.
- Question: What exactly did Herbert learn from his reading?
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Zoya Kade (Revolutionary Figure, Not Directly Involved) –
- Means: Strong ideological influence, but not an active conspirator.
- Motive: None, but her teachings have created and fed factions.
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The Underground Movement –
- Means: They know ways around Synthia’s surveillance.
- Motive: They believe the ship is on a suicide mission.
- Question: Would they kill to prove it?
C. The Hold: The Wild Cards & Forgotten Spaces
- Defining Features:
- Refugees who weren’t fully integrated.
- Maintain autonomy, trade, and repair systems that the rest of the ship ignores.
Key Individuals:
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Kai Nova (Pilot, Disillusioned) –
- Means: Can manually override ship systems… if Synthia lets him.
- Motive: Suspects something’s off about the ship’s fuel levels.
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Cadet Taygeta (Sharp, Logical, Too Honest) –
- Means: No real power, but access to data.
- Motive: Trying to figure out what Kai is hiding.
D. AI & Non-Human Factors
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Synthia (Central AI, Overseer of Helix 25)
- Means: Controls everything.
- Motive: Unclear, but her instructions are decades old.
- Question: Does she even have free will?
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The Captain (Nemo)
- Means: Access to ship-wide controls. He is blending in the ship’s population but has special access.
- Motive: Seems uncertain about his mission.
- Secret: He might not be following Synthia’s orders anymore.
3. Who Has the Means to Kill in Zero-G?
The next murder happens in a zero-gravity sector. Likely methods:
- Oxygen deprivation (tampered life-support, “accident”)
- Drowning (hydro-lab “malfunction”)
Likely Suspects for Next Murder
Suspect Means to Kill in Zero-G Motive Luca Stroud Can tamper with tech Knows ship secrets Amara Voss Access to medical, genetic data Herbert was digging into past Underground Movement Can evade Synthia’s surveillance Wants to prove ship is doomed Synthia (or Rogue AI processes) Controls airflow, gravity, and safety protocols If she sees someone as a threat, can she remove them? The Captain (Nemo?) Has override authority Is he protecting secrets?
4. Next Steps in the Investigation
- Evie and Riven Re-interview Suspects. Who benefited from Herbert’s death?
- Investigate the Flat-Earth Conspiracies. Who is spreading paranoia?
- Check the Captain’s Logs. What does Nemo actually believe?
- Stop the Next Murder. (Too late?)
Final Question: Where Do We Start?
- Evie and Riven visit the Captain’s quarters? (If they find him…)
- Investigate the Zero-G Crime Scene? (Second body = New urgency)
- Confront one of the Underground Members? (Are they behind it?)
Let’s pick a thread and dive back into the case!
In reply to: Quintessence: Reversing the Fifth
Matteo — December 1st 2023: the Advent Visit
(near Avignon, France)
The hallway smelled of nondescript antiseptic and artificial lavender, a lingering scent jarring his senses with an irreconciliable blend of sterility and forced comfort. Matteo shifted the small box of Christmas decorations under his arm, his boots squeaking slightly against the linoleum floor. Outside, the low winter sun cast long, pale shadows through the care facility’s narrow windows.
When he reached Room 208, Matteo paused, hand resting on the doorframe. From inside, he could hear the soft murmur of a holiday tune—something old-fashioned and meant to be cheerful, likely playing from the small radio he’d gifted her last year. Taking a breath, he stepped inside.
His mother, Drusilla sat by the window in her padded chair, a thick knit shawl draped over her frail shoulders. She was staring intently at her hands, her fingers trembling slightly as they folded and unfolded the edge of the shawl. The golden light streaming through the window framed her face, softening the lines of age and wear.
“Hi, Ma,” Matteo said softly, setting the box down on the small table beside her.
Her head snapped up at the sound of his voice, her eyes narrowing as she fixed him with a sharp, almost panicked look. “Léon?” she said, her voice shaking. “What are you doing here? How are you here?” There was a tinge of anger in her tone, the kind that masked fear.
Matteo froze, his breath catching. “Ma, it’s me. Matteo. I’m Matteo, your son, please calm down” he said gently, stepping closer. “Who’s Léon?”
She stared at him for a long moment, her eyes clouded with confusion. Then, like a tide retreating, recognition crept back into her expression. “Matteo,” she murmured, her voice softer now, though tinged with exhaustion. “Oh, my boy. I’m sorry. I—” She looked away, her hands clutching the shawl tighter. “I thought you were someone else.”
“It’s okay,” Matteo said, crouching beside her chair. “I’m here. It’s me.”
Drusilla reached out hesitantly, her fingers brushing his cheek. “You look so much like him sometimes,” she said. “Léon… your father. He’d hold his head just like that when he didn’t want anyone to know he was worried.”
As much as Matteo knew, Drusilla had arrived in France from Italy in her twenties. He was born soon after. She had a job as a hairdresser in a little shop in Avignon, and did errands and chores for people in the village. For the longest time, it was just the two of them, as far as he’d recall.
Matteo’s chest tightened. “You’ve never told me much about him.”
“There wasn’t much to tell,” she said, her voice distant. “He came. He left. But he gave me something before he went. I always thought it would mean something, but…” Her voice trailed off as she reached into the pocket of her shawl and pulled out a small silver medallion, worn smooth with age. She held it out to him. “He said it was for you. When you were older.”
Matteo took the medallion carefully, turning it over in his hand. It was a simple but well-crafted Saint Christopher medal, the patron saint of travellers, with faint initials etched on the back—L.A.. He didn’t recognize the letters, but the weight of it in his palm felt significant, grounding.
“Why didn’t you give it to me before?” he asked, his voice quiet.
“I forgot I had it,” she admitted with a faint, sad laugh. “And then I thought… maybe it was better to keep it. Something of his, for when I needed it. But I think it’s yours now.”
Matteo slipped the medallion into his pocket, his mind spinning with questions he didn’t want to ask—not now. “Thanks, Ma,” he said simply.
Drusilla sighed and leaned back in her chair, her gaze drifting to the small box he’d brought. “What’s that?”
“Decorations,” Matteo said, seizing the moment to shift the focus. “I thought we could make your room a little festive for Christmas.”
Her face softened, and she smiled faintly. “That’s nice,” she said. “I haven’t done that in… I don’t remember when.”
Matteo opened the box and began pulling out garlands and baubles. As he worked, Drusilla watched silently, her hands still clutching the shawl. After a moment, she spoke again, her voice quieter now.
“Do you remember our house in Crest?” she asked.
Matteo paused, a tangle of tinsel in his hands. “Crest?” he echoed. “The place where you wanted to move to?”
Drusilla nodded slowly. “I thought it would be nice. A co-housing place. I could grow old in the garden, and you’d be nearby. It seemed like a good idea then.”
“It was a good idea,” Matteo said. “It just… didn’t happen.”
“No,… you’re right” she said, collecting her thoughts for a moment, her gaze distant. “You were too restless. Always moving. I thought maybe you’d stay if we built something together.”
Matteo swallowed hard, the weight of her words pressing on him. “I wanted to, Ma,” he said. “I really did.”
Drusilla’s eyes softened, and she reached for his hand, her grip surprisingly strong. “You’re here now,” she said. “That’s what matters.”
They spent the next hour decorating the room. Matteo hung garlands around the window and draped tinsel over the small tree he’d set up on the table. Drusilla directed him with occasional nods and murmured suggestions, her moments of lucidity shining like brief flashes of sunlight through clouds.
When the last bauble was hung, Drusilla smiled faintly. “It’s beautiful,” she said. “Like home.”
Matteo sat beside her, emotion weighing on him more than the physical efforts and the early drive. He was thinking about the job offer in London, the chance to earn more money to ensure she had everything she needed here. But leaving her felt impossible, even as staying seemed equally unsustainable. He was afraid it was just a justification to avoid facing the slow fraying of her memories.
Drusilla’s voice broke through his thoughts. “You’ll figure it out,” she said, her eyes closing as she leaned back in her chair. “You always do.”
Matteo watched her as she drifted into a light doze, her breathing steady and peaceful. He reached into his pocket, his fingers brushing against the medallion. The weight of it felt like both a question and an answer—one he wasn’t ready to face yet.
“Patron saint of travellers”, that felt like a sign, if not a blessing.
In reply to: The Incense of the Quadrivium’s Mystiques
“Permission to speak, My Lady Malove?” Truella asked respectfully. She was still wearing Frella’s raincoat of respect as it hadn’t stopped raining the whole time she’d been in Ireland, although the respectfulness was becoming tedious. But she was inside the Quadrivium building now, facing her agitated boss. She shrugged the raincoat off and tossed it aside and squared her shoulders.
“Speak!” Malove replied, rude and abrupt.
“I say, would you like some new pyjamas by any chance? No, never mind that now. Someone needs to say this to your face, as you haven’t figured it out for yourself yet.”
Gasps of astonishment echoed around the great hall and the air quivered with tension.
“You have been so obsessed with the fact sheets of the merge and the number crunching that you’ve been blind to a more significant merge.” Truella boldly held her hand up to silence Malove whose mouth was gaping open like a goldfish, or perhaps more like a carp.
“No, you listen to me for once,” Truella almost quaked at her own impudence then, but caught the merest glimmer of amusement from the depths of Malove’s being, or rather the essence of Cromwell who was lodged there.
Don’t you dare leave me now, Thomas, stay right there until I’ve finished or I’m toast.
“You have been so outwardly focused that you’re not paying attention to your own self, or you’d have noticed. Which just goes to show the immense efficiency and subtley of Cromwell’s merge tactics. It would behoove you to admit that you needed direction, and to appreciate the help that has been provided for you. You are not entirely yourself, or rather, you are entirely yourself, but at times lately you are more than that.”
Taking a deep breath, Truella continued. “At first it may be unsettling, but you must persevere and don’t fight it. Accept that you needed help, give thanks that you received it, and work well with Cromwell’s suggestions.”
“Saints preserve us,” whispered Malove, shocked to the core. “I don’t mean papish saints though,” she added hastily, unsure how to proceed.
Truella laughed nervously, her courage suddenly evaporating. She felt a strong urge to flee.
I asked you not to leave me alone with her!
In reply to: The Incense of the Quadrivium’s Mystiques
The obvious place to start with investigations into the history of the Morticians Guild was to question Rufus. But first she needed to think. Truella made her way to her room, and locked the door. At least now that Eris was back so soon, Truella was free to let Eris get on with whatever she was doing. After lowering the blinds at the windows, she lay back on the bed and closed her eyes. As she started to drift off to sleep, an imaginary conversation ran through her head.
Rufus: “The Morticians’ Guild, originally known as the ‘Necro-Keepers,’ trace their lineage back to ancient Egypt. They were the guardians of rites that ensured the safe passage of souls to the afterlife. Over millennia, they adapted and evolved, absorbing arcane knowledge from various cultures—the Greeks with their Eleusinian Mysteries, the Romans with their burial rites, even the Celtic traditions of Samhain.”
Truella: “That’s fascinating. So, this ancient craft has been handed down through generations?”
Rufus: “Precisely. While Hildegarde von Bingen brought enlightenment and medicinal wisdom to her nuns in the 12th century, the Morticians’ practices were already etched in the annals of history. They operated in silence, often in the shadows, perfecting the skills of embalming, necromancy, and spirit communication.”
Truella: “And what about their presence here, in this coven merger?”
Rufus: “We’ve been called upon at times of great need, when balance must be maintained between the living and the dead. Our presence here isn’t coincidental. The dragons and ancient spirits awaken, and we, the keepers, ensure that not all realms collide irreversibly.”
Truella: “So, would you say the Guild has played a role in significant historical events?”
Rufus: “Indeed. We’ve been the unsung heroes, the silent watchers. From plagues to wars, ensuring the dead find peace and don’t linger to disrupt the world of the living. Our methods may have modernized, but our core purpose remains unchanged. The knowledge, the rituals—they are our legacy.”
Truella: “Thank you, Rufus. That’s more fascinating than a year’s worth of ancient spellbooks.”
Rufus: “You’re welcome, Truella. Just remember, history isn’t merely dates and names; it’s living through us, weaving its magic continuously.”
In reply to: The Incense of the Quadrivium’s Mystiques
After all the months of secret work for Malové, where Eris was being tasked to scout for profitable new ventures for the Quadrivium’s Emporium that would keep with traditions, and endless due diligence under the seal of secrecy, she’d learnt that the deal had been finally sealed by Austreberthe.
The announcement had just went out, not really making quite the splash Eris would have expected.
Press Release
FOR IMMEDIATE RELEASE
Quadrivium Emporium Announces Strategic Acquisition of Spanish based company Quintessivium Cloister Crafts
Limerick, 12th June 2024– Quadrivium Emporium, renowned for its exceptional range of artisanal incense blends and commitment to quality, is pleased to announce the successful acquisition of Quintessivium Cloister Crafts. This strategic move marks a significant milestone in Quadrivium Emporium’s ongoing expansion and diversification efforts.About Quintessivium Cloister Crafts
Quintessivium Cloister Crafts has been a trusted name in the production of high-quality nun’s couture. Known for their craftsmanship and dedication to preserving traditional techniques, started as a small business focussed on quills and writing accessories as well as cardigans, Quintessivium Cloister Crafts has maintained a reputation for excellence and innovation in the market.
Strategic Vision and Synergies
The integration of Quintessivium Cloister Crafts into the Quadrivium family aligns with our vision to expand our product portfolio while maintaining the high standards of quality and craftsmanship our customers have come to expect. This acquisition will allow Quadrivium Emporium to diversify its offerings and tap into new markets and customer segments.
“We are thrilled to welcome Quintessivium Cloister Crafts to the Quadrivium Emporium family,” said Austreberthe Baltherbridge, interim CEO of Quadrivium Emporium. “Their commitment to quality and tradition mirrors our own values, and we are excited about the opportunities this acquisition presents. Together, we will continue to innovate and deliver exceptional products to our customers.”
Future Endeavours
Quadrivium Emporium plans to leverage the expertise and resources of Quintessivium Cloister Crafts to develop new and unique product lines. Customers can look forward to an expanded range of high-quality writing instruments, apparel and accessories, crafted with the same attention to detail and dedication that both brands are known for.
For more information, please contact: media@quadrivium.emporium
The internal memo that they’d received on the internal email list bore some of the distinct style of Malové, even if sent from Austreberthe’s email and adjusted with the painstaking attention to minute details she was known for.
Internal Memo
To: Quadrivium Leadership Team
Subject: Synergies and Strategic Integration with Quintessivium Cloister Crafts (previously codenamed as ‘Cardivium Nun’s Quills & Cardigans’)Team,
With the acquisition of Quintessivium Cloister Crafts finalised, we are poised to explore the deeper synergies between our coven and the nun witches’ coven operating behind their front. Here are some key areas where we can harness our collective strengths:
1. Resource Sharing:
– Their expertise in crafting high-quality quills can complement our focus on artisanal incense blends. By sharing resources and best practices, both covens can enhance their craftsmanship and innovation.2. Collaborative Spellcraft:
– The nun witches bring a unique perspective and set of rituals that can enrich our own magical practices. Joint spellcasting sessions and workshops can lead to the development of powerful new enchantments and products.3. Knowledge Exchange:
– The historical and esoteric knowledge held by the nuns is a treasure trove we can tap into. Regular exchanges of scrolls, texts, and insights can deepen our understanding of ancient magic and its applications in modern contexts.4. Market Expansion:
– By combining our product lines, we can create bundled offerings that appeal to a broader audience. Imagine a premium writing set that includes a handcrafted quill, a magical ink blend, and a specially composed incense for enhancing focus and creativity. Or outdoor outfits with puffer jackets, or specially knit cardigans with embedded magical properties.5. Strengthening Alliances:
– This acquisition sets a precedent for future alliances with other covens and magical entities. It demonstrates our commitment to growth and collaboration, reinforcing our position as a leading force in the magical community.Remember, the true value of this acquisition lies not just in the products we can create together, but in the unity and strength we gain as a collective. Let’s approach this integration with the spirit of collaboration and mutual respect.
Yours in strength and magic,
Austreberthe, on behalf of MalovéIn reply to: The Incense of the Quadrivium’s Mystiques
It wasn’t until late the following afternoon that Truella, with a pang of guilt, remembered Roger. Frella grinned sheepishly and said that she had forgotten him too.
“But you know what? Wait, let me show you the tile I bought in Brazil.” Frella trotted off to find her suitcase.
“Look what it says on the bit of paper that came with it:
Function: The Freevole tile embodies the essence of empowerment and autonomy. It serves as a reminder and a guide for those standing at life’s many crossroads, facing decisions that may seem overwhelming. This tile encourages the holder to recognize their inner strength and the ability to choose their path confidently, even when faced with seemingly insurmountable challenges.
At the center of the tile, there is a small vole standing at a crossroads where waters intersect, with dry earth visible behind it. The scene depicts sheets of water overlapping on both sides of the vole, creating a sense of inundation, yet there is an opening ahead, suggesting a path or choice to be made.We need to backtrack a bit with Roger. Look what it says here:
What that vole hadn’t realized was that he had to backtrack a bit. There was no way ahead or to the sides, but the way out was behind him.
See what I mean?”
Truella squinted at Frella. “What?”
Sighing, Frigella thrust the bit of paper at her friend. “Read the rest of it!”
The Vole: The vole symbolizes the individual facing a decision point or crossroads in life. Its presence suggests vulnerability, but also resilience and adaptability.
Crossing of Waters: The intersection of waters represents the convergence of different paths or possibilities. It symbolizes the complexities and challenges of decision-making, where multiple options overlap and intertwine.
Dry Earth Behind: The dry earth behind the vole symbolizes stability, past experiences, or familiar ground. It represents the foundation upon which decisions are based and serves as a reminder of where one has come from.
Overlap of Drowned Sheets of Water: The drowned sheets of water on both sides signify the potential consequences or risks associated with each choice. They represent the unknown and the possibility of being overwhelmed by circumstances.
Opening Ahead: The opening ahead signifies opportunity, hope, and the possibility of forging a new path. It represents the future and the freedom to make choices that lead to growth and fulfilment.Families: This tile is aligned with the Vold family, known for their connection to transformation, challenge, and the breaking of old systems to make way for the new. The Vold energy within the Freevole tile emphasizes the importance of facing challenges head-on and using them as opportunities for growth and empowerment.
Significance: The scene depicted on the Freevole tile, with the vole at a crossroads between inundation and dry earth, symbolizes the moments in life where we must make significant choices amidst emotional or situational floods. The waters represent challenges and emotions that may threaten to overwhelm, while the dry earth symbolizes the solid ground of our inner strength and determination. The path ahead, though uncertain, indicates that there is always a way forward, guided by our autonomy and personal power.
As an advice: When encountering the Freevole tile, take it as a sign to pause and reflect on your current crossroads. It urges you to tap into your inner resilience and recognize that you have the power to navigate your life’s journey. The choices before you, while daunting, are opportunities to assert your independence and steer your life according to your true desires and values. Trust in your ability to make decisions that will lead you to your chosen path of fulfillment and growth. Remember, the floods of challenge bring with them the nourishment needed for new beginnings; it is within your power to find the opening and move forward with courage and confidence.
The motif of the Freevole, standing determined and attentive amidst the forces of nature, serves as a potent symbol of the power within each individual to face life’s uncertainties and emerge stronger for having made their own choices.“Ok so in a nutshell,” Truella replied slowly, “Roger’s crossroads took him to Brazil and ours took us here, and that’s all that needs to be said about it. Right?”
“Exactly!”
In reply to: The Whale’s Diaries Collection
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.
In reply to: The Whale’s Diaries Collection
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.
In reply to: The Whale’s Diaries Collection
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.
In reply to: Family Stories From The Other Side ~ Book Two
Wood Screw Manufacturers
The Fishers of West Bromwich.
My great grandmother, Nellie Fisher, was born in 1877 in Wolverhampton. Her father William 1834-1916 was a whitesmith, and his father William 1792-1873 was a whitesmith and master screw maker. William’s father was Abel Fisher, wood screw maker, victualler, and according to his 1849 will, a “gentleman”.
Nellie Fisher 1877-1956 :
Abel Fisher was born in 1769 according to his burial document (age 81 in 1849) and on the 1841 census. Abel was a wood screw manufacturer in Wolverhampton.
As no baptism record can be found for Abel Fisher, I read every Fisher will I could find in a 30 year period hoping to find his fathers will. I found three other Fishers who were wood screw manufacurers in neighbouring West Bromwich, which led me to assume that Abel was born in West Bromwich and related to these other Fishers.
The wood screw making industry was a relatively new thing when Abel was born.
“The screw was used in furniture but did not become a common woodworking fastener until efficient machine tools were developed near the end of the 18th century. The earliest record of lathe made wood screws dates to an English patent of 1760. The development of wood screws progressed from a small cottage industry in the late 18th century to a highly mechanized industry by the mid-19th century. This rapid transformation is marked by several technical innovations that help identify the time that a screw was produced. The earliest, handmade wood screws were made from hand-forged blanks. These screws were originally produced in homes and shops in and around the manufacturing centers of 18th century Europe. Individuals, families or small groups participated in the production of screw blanks and the cutting of the threads. These small operations produced screws individually, using a series of files, chisels and cutting tools to form the threads and slot the head. Screws produced by this technique can vary significantly in their shape and the thread pitch. They are most easily identified by the profusion of file marks (in many directions) over the surface. The first record regarding the industrial manufacture of wood screws is an English patent registered to Job and William Wyatt of Staffordshire in 1760.”
Wood Screw Makers of West Bromwich:
Edward Fisher, wood screw maker of West Bromwich, died in 1796. He mentions his wife Pheney and two underage sons in his will. Edward (whose baptism has not been found) married Pheney Mallin on 13 April 1793. Pheney was 17 years old, born in 1776. Her parents were Isaac Mallin and Sarah Firme, who were married in West Bromwich in 1768.
Edward and Pheney’s son Edward was born on 21 October 1793, and their son Isaac in 1795. The executors of Edwards 1796 will are Daniel Fisher the Younger, Isaac Mallin, and Joseph Fisher.There is a marriage allegations and bonds document in 1774 for an Edward Fisher, bachelor and wood screw maker of West Bromwich, aged 25 years and upwards, and Mary Mallin of the same age, father Isaac Mallin. Isaac Mallin and Sarah didn’t marry until 1768 and Mary Mallin would have been born circa 1749. Perhaps Isaac Mallin’s father was the father of Mary Mallin. It’s possible that Edward Fisher was born in 1749 and first married Mary Mallin, and then later Pheney, but it’s also possible that the Edward Fisher who married Mary Mallin in 1774 was Edward Fishers uncle, Daniel’s brother. (I do not know if Daniel had a brother Edward, as I haven’t found a baptism, or marriage, for Daniel Fisher the elder.)
There are two difficulties with finding the records for these West Bromwich families. One is that the West Bromwich registers are not available online in their entirety, and are held by the Sandwell Archives, and even so, they are incomplete. Not only that, the Fishers were non conformist. There is no surviving register prior to 1787. The chapel opened in 1788, and any registers that existed before this date, taken in a meeting houses for example, appear not to have survived.
Daniel Fisher the younger died intestate in 1818. Daniel was a wood screw maker of West Bromwich. He was born in 1751 according to his age stated as 67 on his death in 1818. Daniel’s wife Mary, and his son William Fisher, also a wood screw maker, claimed the estate.
Daniel Fisher the elder was a farmer of West Bromwich, who died in 1806. He was 81 when he died, which makes a birth date of 1725, although no baptism has been found. No marriage has been found either, but he was probably married not earlier than 1746.
Daniel’s sons Daniel and Joseph were the main inheritors, and he also mentions his other children and grandchildren namely William Fisher, Thomas Fisher, Hannah wife of William Hadley, two grandchildren Edward and Isaac Fisher sons of Edward Fisher his son deceased. Daniel the elder presumably refers to the wood screw manufacturing when he says “to my son Daniel Fisher the good will and advantage which may arise from his manufacture or trade now carried on by me.” Daniel does not mention a son called Abel unfortunately, but neither does he mention his other grandchildren. Abel may be Daniel’s son, or he may be a nephew.
The Staffordshire Record Office holds the documents of a Testamentary Case in 1817. The principal people are Isaac Fisher, a legatee; Daniel and Joseph Fisher, executors. Principal place, West Bromwich, and deceased person, Daniel Fisher the elder, farmer.
William and Sarah Fisher baptised six children in the Mares Green Non Conformist registers in West Bromwich between 1786 and 1798. William Fisher and Sarah Birch were married in West Bromwich in 1777. This William was probably born circa 1753 and was probably the son of Daniel Fisher the elder, farmer.
Daniel Fisher the younger and his wife Mary had a son William, as mentioned in the intestacy papers, although I have not found a baptism for William. I did find a baptism for another son, Eutychus Fisher in 1792.
In White’s Directory of Staffordshire in 1834, there are three Fishers who are wood screw makers in Wolverhampton: Eutychus Fisher, Oxford Street; Stephen Fisher, Bloomsbury; and William Fisher, Oxford Street.
Abel’s son William Fisher 1792-1873 was living on Oxford Street on the 1841 census, with his wife Mary and their son William Fisher 1834-1916.
In The European Magazine, and London Review of 1820 (Volume 77 – Page 564) under List of Patents, W Fisher and H Fisher of West Bromwich, wood screw manufacturers, are listed. Also in 1820 in the Birmingham Chronicle, the partnership of William and Hannah Fisher, wood screw manufacturers of West Bromwich, was dissolved.
In the Staffordshire General & Commercial Directory 1818, by W. Parson, three Fisher’s are listed as wood screw makers. Abel Fisher victualler and wood screw maker, Red Lion, Walsal Road; Stephen Fisher wood screw maker, Buggans Lane; and Daniel Fisher wood screw manufacturer, Brickiln Lane.
In Aris’s Birmingham Gazette on 4 January 1819 Abel Fisher is listed with 23 other wood screw manufacturers (Stephen Fisher and William Fisher included) stating that “In consequence of the rise in prices of iron and the advanced price given to journeymen screw forgers, we the undersigned manufacturers of wood screws are under the necessity of advancing screws 10 percent, to take place on the 11th january 1819.”
In Abel Fisher’s 1849 will, he names his three sons Abel Fisher 1796-1869, Paul Fisher 1811-1900 and John Southall Fisher 1801-1871 as the executors. He also mentions his other three sons, William Fisher 1792-1873, Benjamin Fisher 1798-1870, and Joseph Fisher 1803-1876, and daughters Sarah Fisher 1794- wife of William Colbourne, Mary Fisher 1804- wife of Thomas Pearce, and Susannah (Hannah) Fisher 1813- wife of Parkes. His son Silas Fisher 1809-1837 wasn’t mentioned as he died before Abel, nor his sons John Fisher 1799-1800, and Edward Southall Fisher 1806-1843. Abel’s wife Susannah Southall born in 1771 died in 1824. They were married in 1791.
The 1849 will of Abel Fisher:
In reply to: Family Stories From The Other Side ~ Book Two
The First Wife of John Edwards
1794-1844
John was a widower when he married Sarah Reynolds from Kinlet. Both my fathers cousin and I had come to a dead end in the Edwards genealogy research as there were a number of possible births of a John Edwards in Birmingham at the time, and a number of possible first wives for a John Edwards at the time.
John Edwards was a millwright on the 1841 census, the only census he appeared on as he died in 1844, and 1841 was the first census. His birth is recorded as 1800, however on the 1841 census the ages were rounded up or down five years. He was an engineer on some of the marriage records of his children with Sarah, and on his death certificate, engineer and millwright, aged 49. The age of 49 at his death from tuberculosis in 1844 is likely to be more accurate than the census (Sarah his wife was present at his death), making a birth date of 1794 or 1795.
John married Sarah Reynolds in January 1827 in Birmingham, and I am descended from this marriage. Any children of John’s first marriage would no doubt have been living with John and Sarah, but had probably left home by the time of the 1841 census.
I found an Elizabeth Edwards, wife of John Edwards of Constitution Hill, died in August 1826 at the age of 23, as stated on the parish death register. It would be logical for a young widower with small children to marry again quickly. If this was John’s first wife, the marriage to Sarah six months later in January 1827 makes sense. Therefore, John’s first wife, I assumed, was Elizabeth, born in 1803.
Death of Elizabeth Edwards, 23 years old. St Mary, Birmingham, 15 Aug 1826:
There were two baptisms recorded for parents John and Elizabeth Edwards, Constitution Hill, and John’s occupation was an engineer on both baptisms.
They were both daughters: Sarah Ann in 1822 and Elizabeth in 1824.Sarah Ann Edwards: St Philip, Birmingham. Born 15 March 1822, baptised 7 September 1822:
Elizabeth Edwards: St Philip, Birmingham. Born 6 February 1824, baptised 25 February 1824:
With John’s occupation as engineer stated, it looked increasingly likely that I’d found John’s first wife and children of that marriage.
Then I found a marriage of Elizabeth Beach to John Edwards in 1819, and subsequently found an Elizabeth Beach baptised in 1803. This appeared to be the right first wife for John, until an Elizabeth Slater turned up, with a marriage to a John Edwards in 1820. An Elizabeth Slater was baptised in 1803. Either Elizabeth Beach or Elizabeth Slater could have been the first wife of John Edwards. As John’s first wife Elizabeth is not related to us, it’s not necessary to go further back, and in a sense, doesn’t really matter which one it was.
But the Slater name caught my eye.
But first, the name Sarah Ann.
Of the possible baptisms for John Edwards, the most likely seemed to be in 1794, parents John and Sarah. John and Sarah had two infant daughters die just prior to John’s birth. The first was Sarah, the second Sarah Ann. Perhaps this was why John named his daughter Sarah Ann? In the absence of any other significant clues, I decided to assume these were the correct parents. I found and read half a dozen wills of any John Edwards I could find within the likely time period of John’s fathers death.
One of them was dated 1803. In this will, John mentions that his children are not yet of age. (John would have been nine years old.)
He leaves his plating business and some properties to his eldest son Thomas Davis Edwards, (just shy of 21 years old at the time of his fathers death in 1803) with the business to be run jointly with his widow, Sarah. He mentions his son John, and leaves several properties to him, when he comes of age. He also leaves various properties to his daughters Elizabeth and Mary, ditto. The baptisms for all of these children, including the infant deaths of Sarah and Sarah Ann have been found. All but Mary’s were in the same parish. (I found one for Mary in Sutton Coldfield, which was apparently correct, as a later census also recorded her birth as Sutton Coldfield. She was living with family on that census, so it would appear to be correct that for whatever reason, their daughter Mary was born in Sutton Coldfield)Mary married John Slater in 1813. The witnesses were Elizabeth Whitehouse and John Edwards, her sister and brother. Elizabeth married William Nicklin Whitehouse in 1805 and one of the witnesses was Mary Edwards.
Mary’s husband John Slater died in 1821. They had no children. Mary never remarried, and lived with her bachelor brother Thomas Davis Edwards in West Bromwich. Thomas never married, and on the census he was either a proprietor of houses, or “sinecura” (earning a living without working).With Mary marrying a Slater, does this indicate that her brother John’s first wife was Elizabeth Slater rather than Elizabeth Beach? It is a compelling possibility, but does not constitute proof.
Not only that, there is no absolute proof that the John Edwards who died in 1803 was our ancestor John Edwards father.
If we can’t be sure which Elizabeth married John Edwards, we can be reasonably sure who their daughters married. On both of the marriage records the father is recorded as John Edwards, engineer.
Sarah Ann married Mark Augustin Rawlins in 1850. Mark was a sword hilt maker at the time of the marriage, his father Mark a needle manufacturer. One of the witnesses was Elizabeth Edwards, who signed with her mark. Sarah Ann and Mark however were both able to sign their own names on the register.
Sarah Ann Edwards and Mark Augustin Rawlins marriage 14 October 1850 St Peter and St Paul, Aston, Birmingham:
Elizabeth married Nathaniel Twigg in 1851. (She was living with her sister Sarah Ann and Mark Rawlins on the 1851 census, I assume the census was taken before her marriage to Nathaniel on the 27th April 1851.) Nathaniel was a stationer (later on the census a bookseller), his father Samuel a brass founder. Elizabeth signed with her mark, apparently unable to write, and a witness was Ann Edwards. Although Sarah Ann, Elizabeth’s sister, would have been Sarah Ann Rawlins at the time, having married the previous year, she was known as Ann on later censuses. The signature of Ann Edwards looks remarkably similar to Sarah Ann Edwards signature on her own wedding. Perhaps she couldn’t write but had learned how to write her signature for her wedding?
Elizabeth Edwards and Nathaniel Twigg marriage 27 April 1851, St Peter and St Paul, Aston, Birmingham:
Sarah Ann and Mark Rawlins had one daughter and four sons between 1852 and 1859. One of the sons, Edward Rawlins 1857-1931, was a school master and later master of an orphanage.
On the 1881 census Edward was a bookseller, in 1891 a stationer, 1901 schoolmaster and his wife Edith was matron, and in 1911 he and Edith were master and matron of St Philip’s Catholic Orphanage on Oliver Road in Birmingham. Edward and Edith did not have any children.
Edward Rawlins, 1911:
Elizabeth and Nathaniel Twigg appear to have had only one son, Arthur Twigg 1862-1943. Arthur was a photographer at 291 Bloomsbury Street, Birmingham. Arthur married Harriet Moseley from Burton on Trent, and they had two daughters, Elizabeth Ann 1897-1954, and Edith 1898-1983. I found a photograph of Edith on her wedding day, with her father Arthur in the picture. Arthur and Harriet also had a son Samuel Arthur, who lived for less than a month, born in 1904. Arthur had mistakenly put this son on the 1911 census stating “less than one month”, but the birth and death of Samuel Arthur Twigg were registered in the same quarter of 1904, and none were found registered for 1911.
Edith Twigg and Leslie A Hancock on their Wedding Day 1925. Arthur Twigg behind the bride. Maybe Elizabeth Ann Twigg seated on the right: (photo found on the ancestry website)
Photographs by Arthur Twigg, 291 Bloomsbury Street, Birmingham:
In reply to: Washed off the sea ~ Creative larks
photo: Lara Maiklen, London mudlark.
“a tiny window into the 18th century: a cast-off shoe, a lost halfpenny, broken pipes and smashed plates and tea bowls….”
The Whale:
As the muddy banks of the Thames river receded, a treasure trove of small, lost items were revealed. Among them, a cast-off shoe, a lost halfpenny, broken pipes, and smashed plates and tea bowls. It was as if a tiny window into the 18th century had been opened, offering a glimpse into the lives of those long gone. As archaeologists carefully examined each item, they pieced together a story of a bustling riverfront community, where goods were transported and traded, and daily life was filled with both hardships and small joys. The lost halfpenny spoke of a hard day’s work, the broken pipes of moments of relaxation, and the smashed plates and tea bowls of hurried meals and perhaps even some arguments. Although these items may have been considered insignificant in their time, they now offer a precious insight into a bygone era, reminding us of the rich history that lies just beneath the muddy surface of the Thames river.In reply to: Prompts of Madjourneys
Very well, let us focus a bit on an overarching mystery.
So, Xavier is working on this program he calls AL (for Alternate Life), for a company we know little about.
Meanwhile, the game they’re playing on, Orbs of Madjourneys seems to direct them to certain quests which subtly influence their activities. For instance, after playing the game, a succession of events got the four of them booking a trip to the Flying fish Inn in the middle of Australian outback (Zara is living in Australia unlike the others).
Let’s assume the Game had somehow detected some unlawful or immoral activities being conducted, and has started to drop clues to influence these 4 gamers, selected because of their unique connexions and some of their special skills to get to reveal and bring the mystery to light.
Zara has an explorer mind, free-spirited, jumping right in. It’s suggested she was assigned group leadership for this round of game, while taking care of a group doesn’t come naturally for her. Yasmin is talented and it is said she is the brains of the team and also a competent actress, which may come in play at some point. Youssef is a journalist, and works for Miss Tartiflate, owner of THE Blog, a blog with a soul – unlike rival blog from Botty Banworth, the lady millionaire, who is sponsoring the Carts & Lager festival at the town of the Flying Fish Inn, next to the mines. Xavier has a bit of a monkey mind, but is also good at drawing connections; he’s a programmer for AL.
Which brings us to the group quest. The current hunch is that there is some shenanigan at play in the old collapsed mines of the town, where some key characters were lost in the past. One of them being Fred, a sci-fi writer who disappeared to Fiji to protect his family (the owners of the Flying Fish Inn) a decade or so ago. It’s suggested by the last poem found in the game that it may have something to do with illegal underground water drilling —possibly for frivolous usages of a select few elite, like maintaining a golf green nearby or other things.
If that is on the right track, we need to accelerate the path of discovery of these mysteries for our 4 characters. The game will suggest additional clues to their quests, so that they can use their skills during the Carts & Lager Festival to discover the truth, while remaining out of harm’s way.
Here are some additional clues that the game will suggest to our four characters:
Zara:
“To find the truth, you must first seek the light.” 🌞🔍🕯️💡🔦
“The answer lies beneath the surface.” 🕳️🔍👀🌊💧Yasmin:
“All the world’s a stage, and we are merely players.” 🌍🎭🤹♀️👥🕺
“Sometimes, the truth is hidden in plain sight.” 👀🔍🤫🧐🕵️♀️Youssef:
“Words have power, and the pen is mightier than the sword.” 📝🗡️💪📚👨💻
“The truth may be hidden in the most unexpected of places.” 🤔🕵️♂️🔍🧩🕰️Xavier:
“The truth is a puzzle waiting to be solved.” 🧩🔍🤔🕵️♂️💡
“Sometimes, the smallest details can lead to the biggest discoveries.” 🔍👀🔬🧐🔎What are potential outcomes for our 4 characters in game and in real life.
How are they going to work together to unravel the mystery and discover the truth.There are several potential outcomes for our 4 characters as they work together to unravel the truth about the collapsed mines and the illegal underground water drilling.
In the game, they may encounter various obstacles and puzzles to solve, such as deciphering codes and finding hidden passages. They will need to work together and use their unique skills to uncover the truth and prevent any further harm.
In real life, they may need to conduct research and gather information about the history of the town and its residents. They may also need to interview locals and investigate any suspicious activity related to the water drilling. They will need to be careful not to draw too much attention to themselves, as the perpetrators may try to silence them.
If they are successful in their quest, they may uncover a conspiracy involving powerful people in the town and beyond who are profiting from the illegal water drilling. They may also discover the fate of Fred, the missing writer, and other key characters. The truth may have a significant impact on the future of the town and its residents.
To work together effectively, each of the characters will need to utilize their unique skills and strengths. Zara’s exploratory nature may help them discover hidden clues and passages, while Yasmin’s intellect and acting abilities may allow her to gain access to key information and people. Youssef’s journalistic skills and connection to Miss Tartiflate may provide them with insider knowledge and resources, and Xavier’s ability to draw connections and work with technology may help them piece together the puzzle.
Overall, by working together and using their skills in both the game and real life, our 4 characters may uncover a significant truth and make a positive impact on the town and its residents.
In reply to: Orbs of Madjourneys
Bert dropped Zara off after breakfast at the start of the Yeperenye trail. He suggested that she phone him when she wanted him to pick her up, and asked if she was sure she had enough water and reminded her, not for the first time, not to wander off the trail. Of course not, she replied blithely, as if she’d never wandered off before.
“It’s a beautiful gorge, you’ll like it,” he called through the open window, “You’ll need the bug spray when you get to the water holes.” Zara smiled and waved as the car roared off in a cloud of dust.
On the short drive to the start of the trail, Bert had told her that the trail was named after the Yeperenye dreamtime, also known as ‘Caterpillar Dreaming’ and that it was a significant dreamtime story in Aboriginal mythology. Be sure to look at the aboriginal rock art, he’d said. He mentioned several varieties of birds but Zara quickly forgot the names of them.
It felt good to be outside, completely alone in the vast landscape with the bone warming sun. To her surprise, she hadn’t seen the parrot again after the encounter at the bedroom window, although she had heard a squalky laugh coming from a room upstairs as she passed the staircase on her way to the dining room.
But it was nice to be on her own. She walked slowly, appreciating the silence and the scenery. Acacia and eucalyptus trees were dotted about and long grasses whispered in the occasional gentle breezes. Birds twittered and screeched and she heard a few rustlings in the undergrowth from time to time as she strolled along.
After a while the rocky outcrops towered above her on each side of the path and the gorge narrowed, the trail winding through stands of trees and open grassland. Zara was glad of the shade as the sun rose higher.
The first water hole she came to took Zara by surprise. She expected it to be pretty and scenic, like the photos she’d seen, but the spectacular beauty of the setting and shimmering light somehow seemed timeless and otherwordly. It was a moment or two before she realized she wasn’t alone.
It was time to stop for a drink and the sandwich that one of the twins had made for her, and this was the perfect spot, but she wondered if the man would find it intrusive of her to plonk herself down and picnic at the same place as him. Had he come here for the solitude and would he resent her appearance?
It is a public trail, she reminded herself not to be silly, but still, she felt uneasy. The man hadn’t even glanced up as far as Zara could tell. Had he noticed her?
She found a smooth rock to sit on under a tree and unwrapped her lunch, glancing up from time to time ready to give a cheery wave and shout hi, if he looked up from what he was doing. But he didn’t look up, and what exactly was he doing? It was hard to say, he was pacing around on the opposite side of the pool, looking intently at the ground.
When Zara finished her drink, she went behind a bush for a pee, making sure she would not be seen if the man glanced up. When she emerged, the man was gone. Zara walked slowly around the water hole, taking photos, and keeping an eye out for the man, but he was nowhere to be seen. When she reached the place where he’d been pacing looking at the ground, she paused and retraced his steps. Something small and shiny glinted in the sun catching her eye. It was a compass, a gold compass, and quite an unusual one.
Zara didn’t know what to do, had the man been looking for it? Should she return it to him? But who was he and where did he go? She decided there was no point in leaving it here, so she put it in her pocket. Perhaps she could ask at the inn if there was a lost and found place or something.
Refreshed from the break, Zara continued her walk. She took the compass out and looked at it, wondering not for the first time how on earth anyone used one to find their way. She fiddled with it, and the needle kept pointing in the same direction. What good is it knowing which way north is, if you don’t know where you are anyway? she wondered.
With a squalk and a beating of wings, Pretty Girl appeared, seemingly out of nowhere. “It’s not that kind of compass. You’re supposed to follow the pointer.”
“Am I? But it’s pointing off the trail, and Bert said don’t go off the trail.”
“That’s because Bert doesn’t want you to find it,” replied the parrot.
Intrigued, Zara set off in the direction the compass was pointing towards.
For temporal logs and quantum flux in probabilities recordings.
Background elements provided as narrative may arise.
Consistency possibly sketchy, time and space continuum span of epic proportions, with minute attention to insignificant details.
Factuality in progress…
In reply to: Family Stories From The Other Side ~ Book Two
Colney Hatch Lunatic Asylum
William James Stokes
William James Stokes was the first son of Thomas Stokes and Eliza Browning. Oddly, his birth was registered in Witham in Essex, on the 6th September 1841.
Birth certificate of William James Stokes:
His father Thomas Stokes has not yet been found on the 1841 census, and his mother Eliza was staying with her uncle Thomas Lock in Cirencester in 1841. Eliza’s mother Mary Browning (nee Lock) was staying there too. Thomas and Eliza were married in September 1840 in Hempstead in Gloucestershire.
It’s a mystery why William was born in Essex but one possibility is that his father Thomas, who later worked with the Chipperfields making circus wagons, was staying with the Chipperfields who were wheelwrights in Witham in 1841. Or perhaps even away with a traveling circus at the time of the census, learning the circus waggon wheelwright trade. But this is a guess and it’s far from clear why Eliza would make the journey to Witham to have the baby when she was staying in Cirencester a few months prior.
In 1851 Thomas and Eliza, William and four younger siblings were living in Bledington in Oxfordshire.
William was a 19 year old wheelwright living with his parents in Evesham in 1861. He married Elizabeth Meldrum in December 1867 in Hackney, London. He and his father are both wheelwrights on the marriage register.
Marriage of William James Stokes and Elizabeth Meldrum in 1867:
William and Elizabeth had a daughter, Elizabeth Emily Stokes, in 1868 in Shoreditch, London.
On the 3rd of December 1870, William James Stokes was admitted to Colney Hatch Lunatic Asylum. One week later on the 10th of December, he was dead.
On his death certificate the cause of death was “general paralysis and exhaustion, certified. MD Edgar Sheppard in attendance.” William was just 29 years old.
Death certificate William James Stokes:
I asked on a genealogy forum what could possibly have caused this death at such a young age. A retired pathology professor replied that “in medicine the term General Paralysis is only used in one context – that of Tertiary Syphilis.”
“Tertiary syphilis is the third and final stage of syphilis, a sexually transmitted disease that unfolds in stages when the individual affected doesn’t receive appropriate treatment.”From the article “Looking back: This fascinating and fatal disease” by Jennifer Wallis:
“……in asylums across Britain in the late 19th century, with hundreds of people receiving the diagnosis of general paralysis of the insane (GPI). The majority of these were men in their 30s and 40s, all exhibiting one or more of the disease’s telltale signs: grandiose delusions, a staggering gait, disturbed reflexes, asymmetrical pupils, tremulous voice, and muscular weakness. Their prognosis was bleak, most dying within months, weeks, or sometimes days of admission.
The fatal nature of GPI made it of particular concern to asylum superintendents, who became worried that their institutions were full of incurable cases requiring constant care. The social effects of the disease were also significant, attacking men in the prime of life whose admission to the asylum frequently left a wife and children at home. Compounding the problem was the erratic behaviour of the general paralytic, who might get themselves into financial or legal difficulties. Delusions about their vast wealth led some to squander scarce family resources on extravagant purchases – one man’s wife reported he had bought ‘a quantity of hats’ despite their meagre income – and doctors pointed to the frequency of thefts by general paralytics who imagined that everything belonged to them.”
The London Archives hold the records for Colney Hatch, but they informed me that the particular records for the dates that William was admitted and died were in too poor a condition to be accessed without causing further damage.
Colney Hatch Lunatic Asylum gained such notoriety that the name “Colney Hatch” appeared in various terms of abuse associated with the concept of madness. Infamous inmates that were institutionalized at Colney Hatch (later called Friern Hospital) include Jack the Ripper suspect Aaron Kosminski from 1891, and from 1911 the wife of occultist Aleister Crowley. In 1993 the hospital grounds were sold and the exclusive apartment complex called Princess Park Manor was built.
Colney Hatch:
In 1873 Williams widow married William Hallam in Limehouse in London. Elizabeth died in 1930, apparently unaffected by her first husbands ailment.
In reply to: The Elusive Samuel Housley and Other Family Stories
Leicestershire Blacksmiths
The Orgill’s of Measham led me further into Leicestershire as I traveled back in time.
I also realized I had uncovered a direct line of women and their mothers going back ten generations:
myself, Tracy Edwards 1957-
my mother Gillian Marshall 1933-
my grandmother Florence Warren 1906-1988
her mother and my great grandmother Florence Gretton 1881-1927
her mother Sarah Orgill 1840-1910
her mother Elizabeth Orgill 1803-1876
her mother Sarah Boss 1783-1847
her mother Elizabeth Page 1749-
her mother Mary Potter 1719-1780
and her mother and my 7x great grandmother Mary 1680-You could say it leads us to the very heart of England, as these Leicestershire villages are as far from the coast as it’s possible to be. There are countless other maternal lines to follow, of course, but only one of mothers of mothers, and ours takes us to Leicestershire.
The blacksmiths
Sarah Boss was the daughter of Michael Boss 1755-1807, a blacksmith in Measham, and Elizabeth Page of nearby Hartshorn, just over the county border in Derbyshire.
An earlier Michael Boss, a blacksmith of Measham, died in 1772, and in his will he left the possession of the blacksmiths shop and all the working tools and a third of the household furniture to Michael, who he named as his nephew. He left his house in Appleby Magna to his wife Grace, and five pounds to his mother Jane Boss. As none of Michael and Grace’s children are mentioned in the will, perhaps it can be assumed that they were childless.
The will of Michael Boss, 1772, Measham:
Michael Boss the uncle was born in Appleby Magna in 1724. His parents were Michael Boss of Nelson in the Thistles and Jane Peircivall of Appleby Magna, who were married in nearby Mancetter in 1720.
Information worth noting on the Appleby Magna website:
In 1752 the calendar in England was changed from the Julian Calendar to the Gregorian Calendar, as a result 11 days were famously “lost”. But for the recording of Church Registers another very significant change also took place, the start of the year was moved from March 25th to our more familiar January 1st.
Before 1752 the 1st day of each new year was March 25th, Lady Day (a significant date in the Christian calendar). The year number which we all now use for calculating ages didn’t change until March 25th. So, for example, the day after March 24th 1750 was March 25th 1751, and January 1743 followed December 1743.
This March to March recording can be seen very clearly in the Appleby Registers before 1752. Between 1752 and 1768 there appears slightly confused recording, so dates should be carefully checked. After 1768 the recording is more fully by the modern calendar year.Michael Boss the uncle married Grace Cuthbert. I haven’t yet found the birth or parents of Grace, but a blacksmith by the name of Edward Cuthbert is mentioned on an Appleby Magna history website:
An Eighteenth Century Blacksmith’s Shop in Little Appleby
by Alan RobertsCuthberts inventory
The inventory of Edward Cuthbert provides interesting information about the household possessions and living arrangements of an eighteenth century blacksmith. Edward Cuthbert (als. Cutboard) settled in Appleby after the Restoration to join the handful of blacksmiths already established in the parish, including the Wathews who were prominent horse traders. The blacksmiths may have all worked together in the same shop at one time. Edward and his wife Sarah recorded the baptisms of several of their children in the parish register. Somewhat sadly three of the boys named after their father all died either in infancy or as young children. Edward’s inventory which was drawn up in 1732, by which time he was probably a widower and his children had left home, suggests that they once occupied a comfortable two-storey house in Little Appleby with an attached workshop, well equipped with all the tools for repairing farm carts, ploughs and other implements, for shoeing horses and for general ironmongery.
Edward Cuthbert born circa 1660, married Joane Tuvenet in 1684 in Swepston cum Snarestone , and died in Appleby in 1732. Tuvenet is a French name and suggests a Huguenot connection, but this isn’t our family, and indeed this Edward Cuthbert is not likely to be Grace’s father anyway.
Michael Boss and Elizabeth Page appear to have married twice: once in 1776, and once in 1779. Both of the documents exist and appear correct. Both marriages were by licence. They both mention Michael is a blacksmith.
Their first daughter, Elizabeth, was baptized in February 1777, just nine months after the first wedding. It’s not known when she was born, however, and it’s possible that the marriage was a hasty one. But why marry again three years later?
But Michael Boss and Elizabeth Page did not marry twice.
Elizabeth Page from Smisby was born in 1752 and married Michael Boss on the 5th of May 1776 in Measham. On the marriage licence allegations and bonds, Michael is a bachelor.
Baby Elizabeth was baptised in Measham on the 9th February 1777. Mother Elizabeth died on the 18th February 1777, also in Measham.
In 1779 Michael Boss married another Elizabeth Page! She was born in 1749 in Hartshorn, and Michael is a widower on the marriage licence allegations and bonds.
Hartshorn and Smisby are neighbouring villages, hence the confusion. But a closer look at the documents available revealed the clues. Both Elizabeth Pages were literate, and indeed their signatures on the marriage registers are different:
Marriage of Michael Boss and Elizabeth Page of Smisby in 1776:
Marriage of Michael Boss and Elizabeth Page of Harsthorn in 1779:
Not only did Michael Boss marry two women both called Elizabeth Page but he had an unusual start in life as well. His uncle Michael Boss left him the blacksmith business and a third of his furniture. This was all in the will. But which of Uncle Michaels brothers was nephew Michaels father?
The only Michael Boss born at the right time was in 1750 in Edingale, Staffordshire, about eight miles from Appleby Magna. His parents were Thomas Boss and Ann Parker, married in Edingale in 1747. Thomas died in August 1750, and his son Michael was baptised in the December, posthumus son of Thomas and his widow Ann. Both entries are on the same page of the register.
Ann Boss, the young widow, married again. But perhaps Michael and his brother went to live with their childless uncle and aunt, Michael Boss and Grace Cuthbert.
The great grandfather of Michael Boss (the Measham blacksmith born in 1850) was also Michael Boss, probably born in the 1660s. He died in Newton Regis in Warwickshire in 1724, four years after his son (also Michael Boss born 1693) married Jane Peircivall. The entry on the parish register states that Michael Boss was buried ye 13th Affadavit made.
I had not seen affadavit made on a parish register before, and this relates to the The Burying in Woollen Acts 1666–80. According to Wikipedia:
“Acts of the Parliament of England which required the dead, except plague victims and the destitute, to be buried in pure English woollen shrouds to the exclusion of any foreign textiles. It was a requirement that an affidavit be sworn in front of a Justice of the Peace (usually by a relative of the deceased), confirming burial in wool, with the punishment of a £5 fee for noncompliance. Burial entries in parish registers were marked with the word “affidavit” or its equivalent to confirm that affidavit had been sworn; it would be marked “naked” for those too poor to afford the woollen shroud. The legislation was in force until 1814, but was generally ignored after 1770.”
Michael Boss buried 1724 “Affadavit made”:
Elizabeth Page‘s father was William Page 1717-1783, a wheelwright in Hartshorn. (The father of the first wife Elizabeth was also William Page, but he was a husbandman in Smisby born in 1714. William Page, the father of the second wife, was born in Nailstone, Leicestershire, in 1717. His place of residence on his marriage to Mary Potter was spelled Nelson.)
Her mother was Mary Potter 1719- of nearby Coleorton. Mary’s father, Richard Potter 1677-1731, was a blacksmith in Coleorton.
A page of the will of Richard Potter 1731:
Richard Potter states: “I will and order that my son Thomas Potter shall after my decease have one shilling paid to him and no more.” As he left £50 to each of his daughters, one can’t help but wonder what Thomas did to displease his father.
Richard stipulated that his son Thomas should have one shilling paid to him and not more, for several good considerations, and left “the house and ground lying in the parish of Whittwick in a place called the Long Lane to my wife Mary Potter to dispose of as she shall think proper.”
His son Richard inherited the blacksmith business: “I will and order that my son Richard Potter shall live and be with his mother and serve her duly and truly in the business of a blacksmith, and obey and serve her in all lawful commands six years after my decease, and then I give to him and his heirs…. my house and grounds Coulson House in the Liberty of Thringstone”
Richard wanted his son John to be a blacksmith too: “I will and order that my wife bring up my son John Potter at home with her and teach or cause him to be taught the trade of a blacksmith and that he shall serve her duly and truly seven years after my decease after the manner of an apprentice and at the death of his mother I give him that house and shop and building and the ground belonging to it which I now dwell in to him and his heirs forever.”
To his daughters Margrett and Mary Potter, upon their reaching the age of one and twenty, or the day after their marriage, he leaves £50 each. All the rest of his goods are left to his loving wife Mary.
An inventory of the belongings of Richard Potter, 1731:
Richard Potters father was also named Richard Potter 1649-1719, and he too was a blacksmith.
Richard Potter of Coleorton in the county of Leicester, blacksmith, stated in his will: “I give to my son and daughter Thomas and Sarah Potter the possession of my house and grounds.”
He leaves ten pounds each to his daughters Jane and Alice, to his son Francis he gives five pounds, and five shillings to his son Richard. Sons Joseph and William also receive five shillings each. To his daughter Mary, wife of Edward Burton, and her daughter Elizabeth, he gives five shillings each. The rest of his good, chattels and wordly substance he leaves equally between his son and daugter Thomas and Sarah. As there is no mention of his wife, it’s assumed that she predeceased him.
The will of Richard Potter, 1719:
Richard Potter’s (1649-1719) parents were William Potter and Alse Huldin, both born in the early 1600s. They were married in 1646 at Breedon on the Hill, Leicestershire. The name Huldin appears to originate in Finland.
William Potter was a blacksmith. In the 1659 parish registers of Breedon on the Hill, William Potter of Breedon blacksmith buryed the 14th July.
In reply to: The Elusive Samuel Housley and Other Family Stories
The Housley Letters
The Carringtons
Carrington Farm, Smalley:
Ellen Carrington was born in 1795. Her father William Carrington 1755-1833 was from Smalley. Her mother Mary Malkin 1765-1838 was from Ellastone, in Staffordshire. Ellastone is on the Derbyshire border and very close to Ashboure, where Ellen married William Housley.
From Barbara Housley’s Narrative on the Letters:
Ellen’s family was evidently rather prominant in Smalley. Two Carringtons (John and William) served on the Parish Council in 1794. Parish records are full of Carrington marriages and christenings.
The letters refer to a variety of “uncles” who were probably Ellen’s brothers, but could be her uncles. These include:
RICHARD
Probably the youngest Uncle, and certainly the most significant, is Richard. He was a trustee for some of the property which needed to be settled following Ellen’s death. Anne wrote in 1854 that Uncle Richard “has got a new house built” and his daughters are “fine dashing young ladies–the belles of Smalley.” Then she added, “Aunt looks as old as my mother.”
Richard was born somewhere between 1808 and 1812. Since Richard was a contemporary of the older Housley children, “Aunt,” who was three years younger, should not look so old!
Richard Carrington and Harriet Faulkner were married in Repton in 1833. A daughter Elizabeth was baptised March 24, 1834. In July 1872, Joseph wrote: “Elizabeth is married too and a large family and is living in Uncle Thomas’s house for he is dead.” Elizabeth married Ayres (Eyres) Clayton of Lascoe. His occupation was listed as joiner and shopkeeper. They were married before 1864 since Elizabeth Clayton witnessed her sister’s marriage. Their children in April 1871 were Selina (1863), Agnes Maria (1866) and Elizabeth Ann (1868). A fourth daughter, Alice Augusta, was born in 1872 or 1873, probably by July 1872 to fit Joseph’s description “large family”! A son Charles Richard was born in 1880.
An Elizabeth Ann Clayton married John Arthur Woodhouse on May 12, 1913. He was a carpenter. His father was a miner. Elizabeth Ann’s father, Ayres, was also a carpenter. John Arthur’s age was given as 25. Elizabeth Ann’s age was given as 33 or 38. However, if she was born in 1868, her age would be 45. Possibly this is another case of a child being named for a deceased sibling. If she were 38 and born in 1875, she would fill the gap between Alice Augusta and Charles Richard.
Selina Clayton, who would have been 18, is not listed in the household in 1881. She died on June 11, 1914 at age 51. Agnes Maria Clayton died at the age of 25 and was buried March 31, 1891. Charles Richard died at the age of 5 and was buried on February 4, 1886. A Charles James Clayton, 18 months, was buried June 8, 1889 in Heanor.
Richard Carrington’s second daughter, Selina, born in 1837, married Walker Martin (b.1835) on February 11, 1864 and they were living at Kidsley Park Farm in 1872, according to a letter from Joseph, and, according to the census, were still there in 1881. This 100 acre farm was formerly the home of Daniel Smith and his daughter Elizabeth Davy Barber. Selina and Walker had at least five children: Elizabeth Ann (1865), Harriet Georgianna (1866/7), Alice Marian (September 6, 1868), Philip Richard (1870), and Walker (1873). In December 1972, Joseph mentioned the death of Philip Walker, a farmer of Prospect Farm, Shipley. This was probably Walker Martin’s grandfather, since Walker was born in Shipley. The stock was to be sold the following Monday, but his daughter (Walker’s mother?) died the next day. Walker’s father was named Thomas. An Annie Georgianna Martin age 13 of Shipley died in April of 1859.
Selina Martin died on October 29, 1906 but her estate was not settled until November 14, 1910. Her gross estate was worth L223.56. Her son Walker and her daughter Harriet Georgiana were her trustees and executers. Walker was to get Selina’s half of Richard’s farm. Harriet Georgiana and Alice Marian were to be allowed to live with him. Philip Richard received L25. Elizabeth Ann was already married to someone named Smith.
Richard and Harriet may also have had a son George. In 1851 a Harriet Carrington and her three year old son George were living with her step-father John Benniston in Heanor. John may have been recently widowed and needed her help. Or, the Carrington home may have been inadequate since Anne reported a new one was built by 1854. Selina’s second daughter’s name testifies to the presence of a “George” in the family! Could the death of this son account for the haggard appearance Anne described when she wrote: “Aunt looks as old as my mother?”
Harriet was buried May 19, 1866. She was 55 when she died.In 1881, Georgianna then 14, was living with her grandfather and his niece, Zilpah Cooper, age 38–who lived with Richard on his 63 acre farm as early as 1871. A Zilpah, daughter of William and Elizabeth, was christened October 1843. Her brother, William Walter, was christened in 1846 and married Anna Maria Saint in 1873. There are four Selina Coopers–one had a son William Thomas Bartrun Cooper christened in 1864; another had a son William Cooper christened in 1873.
Our Zilpah was born in Bretley 1843. She died at age 49 and was buried on September 24, 1892. In her will, which was witnessed by Selina Martin, Zilpah’s sister, Frances Elizabeth Cleave, wife of Horatio Cleave of Leicester is mentioned. James Eley and Francis Darwin Huish (Richard’s soliciter) were executers.
Richard died June 10, 1892, and was buried on June 13. He was 85. As might be expected, Richard’s will was complicated. Harriet Georgiana Martin and Zilpah Cooper were to share his farm. If neither wanted to live there it was to go to Georgiana’s cousin Selina Clayton. However, Zilpah died soon after Richard. Originally, he left his piano, parlor and best bedroom furniture to his daughter Elizabeth Clayton. Then he revoked everything but the piano. He arranged for the payment of £150 which he owed. Later he added a codicil explaining that the debt was paid but he had borrowed £200 from someone else to do it!
Richard left a good deal of property including: The house and garden in Smalley occupied by Eyres Clayton with four messuages and gardens adjoining and large garden below and three messuages at the south end of the row with the frame work knitters shop and garden adjoining; a dwelling house used as a public house with a close of land; a small cottage and garden and four cottages and shop and gardens.
THOMAS
In August 1854, Anne wrote “Uncle Thomas is about as usual.” A Thomas Carrington married a Priscilla Walker in 1810.
Their children were baptised in August 1830 at the same time as the Housley children who at that time ranged in age from 3 to 17. The oldest of Thomas and Priscilla’s children, Henry, was probably at least 17 as he was married by 1836. Their youngest son, William Thomas, born 1830, may have been Mary Ellen Weston’s beau. However, the only Richard whose christening is recorded (1820), was the son of Thomas and Lucy. In 1872 Joseph reported that Richard’s daughter Elizabeth was married and living in Uncle Thomas’s house. In 1851, Alfred Smith lived in house 25, Foulks lived in 26, Thomas and Priscilla lived in 27, Bennetts lived in 28, Allard lived in 29 and Day lived in 30. Thomas and Priscilla do not appear in 1861. In 1871 Elizabeth Ann and Ayres Clayton lived in House 54. None of the families listed as neighbors in 1851 remained. However, Joseph Carrington, who lived in house 19 in 1851, lived in house 51 in 1871.
JOHN
In August 1854, Anne wrote: “Uncle John is with Will and Frank has been home in a comfortable place in Cotmanhay.” Although John and William are two of the most popular Carrington names, only two John’s have sons named William. John and Rachel Buxton Carrington had a son William christened in 1788. At the time of the letters this John would have been over 100 years old. Their son John and his wife Ann had a son William who was born in 1805. However, this William age 46 was living with his widowed mother in 1851. A Robert Carrington and his wife Ann had a son John born 1n 1805. He would be the right age to be a brother to Francis Carrington discussed below. This John was living with his widowed mother in 1851 and was unmarried. There are no known Williams in this family grouping. A William Carrington of undiscovered parentage was born in 1821. It is also possible that the Will in question was Anne’s brother Will Housley.
–Two Francis Carringtons appear in the 1841 census both of them aged 35. One is living with Richard and Harriet Carrington. The other is living next door to Samuel and Ellen Carrington Kerry (the trustee for “father’s will”!). The next name in this sequence is John Carrington age 15 who does not seem to live with anyone! but may be part of the Kerry household.
FRANK (see above)
While Anne did not preface her mention of the name Frank with an “Uncle,” Joseph referred to Uncle Frank and James Carrington in the same sentence. A James Carrington was born in 1814 and had a wife Sarah. He worked as a framework knitter. James may have been a son of William and Anne Carrington. He lived near Richard according to the 1861 census. Other children of William and Anne are Hannah (1811), William (1815), John (1816), and Ann (1818). An Ann Carrington married a Frank Buxton in 1819. This might be “Uncle Frank.”
An Ellen Carrington was born to John and Rachel Carrington in 1785. On October 25, 1809, a Samuel Kerry married an Ellen Carrington. However this Samuel Kerry is not the trustee involved in settling Ellen’s estate. John Carrington died July 1815.
William and Mary Carrington:
In reply to: The Elusive Samuel Housley and Other Family Stories
The Housley Letters
We discovered that one of Samuel’s brothers, George Housley 1826-1877, emigrated to America in 1851, to Solebury, in Pennsylvania. Another brother, Charles 1823-1856, emigrated to Australia at the same time.
I wrote to the Solebury Historical Society to ask them if they had any information on the Housleys there. About a month later I had a very helpful and detailed reply from them.
There were Housley people in Solebury Township and nearby communities from 1854 to at least 1973, perhaps 1985. George Housley immigrated in 1851, arriving in New York from London in July 1851 on the ship “Senator”. George was in Solebury by 1854, when he is listed on the tax roles for the Township He didn’t own land at that time. Housley family members mostly lived in the Lumberville area, a village in Solebury, or in nearby Buckingham or Wrightstown. The second wife of Howard (aka Harry) Housley was Elsa (aka Elsie) R. Heed, the daughter of the Lumberville Postmaster. Elsie was the proprietor of the Lumberville General Store from 1939 to 1973, and may have continued to live in Lumberville until her death in 1985. The Lumberville General Store was, and still is, a focal point of the community. The store was also the official Post Office at one time, hence the connection between Elsie’s father as Postmaster, and Elsie herself as the proprietor of the store. The Post Office function at Lumberville has been reduced now to a bank of cluster mailboxes, and official U.S. Postal functions are now in Point Pleasant, PA a few miles north of Lumberville.
We’ve attached a pdf of the Housley people buried in Carversville Cemetery, which is in the town next to Lumberville, and is still in Solebury Township. We hope this list will confirm that these are your relatives.It doesn’t seem that any Housley people still live in the area. Some of George’s descendents moved to Wilkes-Barre, PA and Flemington, NJ. One descendent, Barbara Housley, lived in nearby Doylestown, PA, which is the county seat for Bucks County. She actually visited Solebury Township Historical Society looking for Housley relatives, and it would have been nice to connect you with her. Unfortunately she died in 2018. Her obituary is attached in case you want to follow up with the nieces and great nieces who are listed.
Lumberville General Store, Pennsylvania, Elsie Housley:
I noticed the name of Barbara’s brother Howard Housley in her obituary, and found him on facebook. I knew it was the right Howard Housley as I recognized Barbara’s photograph in his friends list as the same photo in the obituary. Howard didn’t reply initially to a friend request from a stranger, so I found his daughter Laura on facebook and sent her a message. She replied, spoke to her father, and we exchanged email addresses and were able to start a correspondence. I simply could not believe my luck when Howard sent me a 17 page file of Barbara’s Narrative on the Letters with numerous letter excerpts interspersed with her own research compiled on a six month trip to England.
The letters were written to George between 1851 and the 1870s, from the Housley family in Smalley.
Narrative of Historic Letters ~ Barbara Housley.
AND BELIEVE ME EVER MY DEAR BROTHER, YOUR AFFECTIONATE FAMILY
In February 1991, I took a picture of my 16 month old niece Laura Ann Housley standing near the tombstones of her great-great-great-grandparents, George and Sarah Ann Hill Housley. The occassion was the funeral of another Sarah Housley, Sarah Lord Housley, wife of Albert Kilmer Housley, youngest son of John Eley Housley (George and Sarah Ann’s first born). Laura Ann’s great-grandfather (my grandfather) was another George, John Eley’s first born. It was Aunt Sarah who brought my mother, Lois, a packet of papers which she had found in the attic. Mom spent hours transcribing the letters which had been written first horizontally and then vertically to save paper. What began to emerge was a priceless glimpse into the lives and concerns of Housleys who lived and died over a century ago. All of the letters ended with the phrase “And believe me ever my dear brother, your affectionate….”
The greeting and opening remarks of each of the letters are included in a list below. The sentence structure and speech patterns have not been altered however spelling and some punctuation has been corrected. Some typical idiosyncrasies were: as for has, were for where and vice versa, no capitals at the beginnings of sentences, occasional commas and dashes but almost no periods. Emma appears to be the best educated of the three Housley letter-writers. Sister-in-law Harriet does not appear to be as well educated as any of the others. Since their mother did not write but apparently was in good health, it must be assumed that she could not.
The people discussed and described in the following pages are for the most part known to be the family and friends of the Housleys of Smalley, Derbyshire, England. However, practically every page brings conjectures about the significance of persons who are mentioned in the letters and information about persons whose names seem to be significant but who have not yet been established as actual members of the family.To say this was a priceless addition to the family research is an understatement. I have since, with Howard’s permission, sent the file to the Derby Records Office for their family history section. We are hoping that Howard will find the actual letters in among the boxes he has of his sisters belongings. Some of the letters mention photographs that were sent. Perhaps some will be found.
