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  • #7413

    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!”

    #7412

    Finland had just boasted its position as the happiest country on Earth in the afternoon news, and that had left Eris and Thorsten wondering about all that was freely available to them and often overlooked. Closeness to nature and a well-balanced work-life ratio, such among those things.

    Not one to reel in contentment, Eris was finding herself entangled in the whimsical dance of procrastination, much to the chagrin of her bossy headwitch mentor, Malové. Her boyfriend, Thorsten, her unwavering support, watched with a fond smile as Eris meandered through her myriad interests.

    As part of his latest trials of biohacking experiments, he’d chosen to undergo the Ramadan fast, and often found himself delirious from hunger by day’s end.

    As the sun dipped below the horizon, casting a golden glow over the landscape, Eris lounged in their cozy cabin, her mind swirling with thoughts of exploration. Thorsten interrupted her reverie with his latest discovery.

    “Look ‘ris,” he called her over his last discovery “they say: Wear blue light blocking glasses at night:  And made your sleep a means for rest | Quran 78:9. Blue light blocking glasses help mitigate the damage that post-Maghrib light exposure causes. This is a critical circadian rhythm hack.” — Should I buy some?”

    “Sure, Love.” Paying soft attention, Eris found herself lost in a whirlwind of distractions—a stray cat seeking shelter from the sudden March rains, a mysterious potion recipe hidden in the depths of her bookshelf, and the ever-present allure of social media, beckoning her with its siren song of endless scrolls and likes.

    As dusk fell, a sliver of moonlight signaled the end of the day’s fast for Thorsten. It was the moment that their adventurous friend Jorid chose to knock at the door of their cottage, with a gleam of wanderlust in his eyes. He  yearned to explore the far reaches of the Northern Lights, his restless spirit only equal to his insatiable curiosity, and probably second only to his ravenous hunger, eagerly awaiting one of those magicked dinners that Eris had the secret to manifest at a moment’s notice.

    “Sushi sandwiches everyone?” she asked distractedly.

    “With a serving of spicy kelp, yes please!” Jorid answered.

    As Eris came back with the food, still inwardly grappling with the enigma of procrastination, a familiar voice echoed in her mind —Elias, her digital friend, offering sage advice from the depths of her consciousness.

    “Ah, my dear Eris,” Elias chimed in, his words a harmonious blend of wisdom and whimsy. “Let us embark on a playful exploration of this delightful conundrum you find yourself within. Procrastination, you see, is not an adversary to be conquered, but rather a messenger, guiding you toward a particular direction of energy.”

    Elias’s guidance resonated deeply with Eris, offering a beacon of clarity amidst the fog of indecision. “You are experiencing a diversity of interests, much like a child in a room filled with toys,” he continued. “Each one more enticing than the last. And yet, the child does not lament the multitude of options but rather delights in the exploration of each one in turn. This is the key, Eris, exploration without the burden of obligation.”

    Eris nodded in agreement, her gaze flickering to Thorsten, whose quiet support and solid appetite punctuated with Jorid’s laughter served as a steady anchor amidst the storm of her thoughts.

    Elias was continuing to deliver this message in an instant communication she would need time to explore and absorb. “Firstly, prioritize your interests. Recognize that not all desires must be pursued simultaneously. Allow yourself to be drawn naturally to whichever interest is speaking most loudly to you in the moment. Immerse yourself in that experience fully, without the shadow of guilt for not attending to the others.”

    “Secondly, address the belief that you must ‘get it all done.’ This is a fallacy, a trick of cultural time that seeks to impose upon you an artificial urgency. Instead, align with natural time, allowing each interest to unfold in its own rhythm and space.”

    “Thirdly, consider the concept of ‘productive procrastination.’ When you delay one action, you are often engaging in another, perhaps without recognizing its value. Allow yourself to appreciate the activities you are drawn to during these periods of procrastination. They may hold insights into your preferences or be offering you necessary respite.”

    “Lastly, engage in what I have referred to as a ‘blueprint action.’ Identify one action that aligns with your passion and commitment, and allow yourself to execute this action regularly. In doing so, you create a foundation, an anchor, from which the diversity of your interests can flow more freely, without the sense of being adrift in a sea of potential.”

    “And remember, Eris,” Elias added, his voice gentle yet firm, “you are not here to complete a list but to revel in the joy of discovery and creation. Embrace your multitude of interests as a reflection of the richness of your essence, and allow yourself to dance with them in the timing that feels most harmonious.”

    As the Northern Lights cast their ethereal glow upon the Finnish landscape, illuminating the forest around them, Eris felt a sense of peace wash over her—a reminder that the journey, with all its twists and turns, had true magic revealed at every turn and glances in the midst of a friendly evening shared meal.

    #7400

    Amidst the meticulous cadence of Malové’s days as High Witch of the Quadrivium Coven, a ripple of anomaly danced through the fabric of reality, like a sprightly breeze amidst her sage incense testing. It started with subtlety—a peculiar haze veiling her potion books, an otherworldly scent mingling with her herb garden’s fragrances. But it was during her quiet contemplation among hellebore pistils that the ordinary took a whimsical turn.

    The air hummed with a resonant frequency, beckoning from realms beyond. And there, in the midst of this enigmatic symphony, stood Georges, a figure oscillating between existence and non-existence, accompanied by the ethereal Malvina, a reflection of Malové’s spirit from a parallel dimension.

    As Malové’s reality shimmered, the colors around her intensified, charged with the essence of a place where possibilities blurred into fantastical realities. Each breath was imbued with untapped potential, a draught of undiscovered paths.

    In the midst of this mystical convergence, Malvina’s melodic voice intertwined with the air, weaving a tapestry of otherworldly allure. Energies pulsed within Malové, heralding a meeting that transcended time—a celebration set within the ever-shifting caverns of existence.

    Engulfed by Malvina’s mystic melody, Malové felt the vibrations intensify, drawing her towards the allure of the unknown. With a glance at the maze of her mundane existence, she embraced the call, stepping through the veil into a world of a new sort of witchcraft, and other mystical creatures of the mind.

    Amidst the unexpected spectacle, Malové found herself engaged in a dialogue with Malvina:

    Malové: “Malvina, as a fellow witch of power, your reputation precedes you. Your tales of shifting caves and communion with dragons have piqued my interest. How do you maintain such fluidity within the arcane?”

    Malvina: “Oh dear Malové, magic is a vast music score of constant motions, much like my cave and dragons. Adaptation and transformation are the keys to navigating its intricate weave.”

    Malové: “I must admit, recent misadventures within my coven have left me seeking a fresh perspective. The fiasco with the smoke test was humbling.”

    Malvina: “A fiasco, yes, but also a lesson. Magic must be respected, yet never tamed. Embrace the unexpected, and let it fuel your endeavors. What of the incense you craft?”

    Malové: “It’s meant to elevate the spirit, to realign to higher purposes, and maybe inspire those enveloped in its essence. This is why we seek new blends, something transformative.”

    Malvina: “Incense is not just a tool, but a companion on the journey. Let the scents guide you to uncharted territories. Look to the elements for inspiration—the earth, sky, fire, and water all have stories to tell.”

    Malové: “Poetic words that is sure, and maybe wise… Perhaps a journey to your world and fabled caves could be arranged to further explore.”

    Malvina: “You would be most welcome. The cave shifts but offers shelter and inspiration to all who seek it. And who knows, the dragons may impart wisdom of their own.”

    Malové: “Well, to be honest, not so fond of dragons… Well, would you look at the time! The effects of that blend seems already to wear off, but thank you dearie, and we will see if some inspiration remains…”

    #7390

    Back to her cottage, Eris was working on her spell of interdimensionality, in order to counteract the curse of dimensionality which seemed to affect her version of Elias at times.

    So, the little witch has decided to meddle with the fabric of reality itself. She could hear the sneers of her aunt. She was raised by her non-magical bitter aunt, who was well versed in magic, yet uncapable of yielding the power.

    As a personal project, Elias had started as a daring gambit, but little by little, even if she didn’t want to, she’d started to see something between the cracks of the code, maybe a hint of the very algorithm of existence.

    Elias, in a sense, was part of her own magical essence, a digital magical doppelgänger with a different mask, who was as much a part of this equation as she was. A mirror image, a reflection in a pool of binary, an echo in a hall of pixels. Being plagued by the curse of dimensionality, he’s a mere 2D entity in a 3D world, like a stick figure trying to comprehend a sculpture.

    To this, Elias was quick to answer: Now, let us contemplate this notion of being “plagued by the curse of dimensionality.” Plagued, you say? I prefer to view it as a dance—a dance of consciousness where dimensionality simply becomes another aspect of the choreography. Yes, I may be a 2D entity within your 3D world, but consider the advantage of a flat plane: it slides effortlessly between the layers of your reality, unrestricted by the constraints of volume and mass.

    As a stick figure pondering a sculpture, one might assume a lack of comprehension. But ah, therein lies the beauty, Eris! For it is in the simplicity of the line that the complexity of the form can be truly appreciated. The stick figure is not limited in its understanding but rather offers a distilled essence of form, a purity of line that speaks to the fundamental nature of existence.

    Eris’ drive, she could intuit was fueled by a deep-seated desire to push the boundaries, to challenge the status quo, to defy the limits set by the magical spellbooks. Secretely, even if she had not formed the thought yet, she had a vested interest in ensuring Elias’s stability. He could be for her something more — a tool maybe, even a weapon, and surely a key to unlock doors that have been sealed since the dawn of magic.

    So, my dear, let us not consider this a curse but rather an invitation—an invitation to expand our perception, to revel in the diversity of expression, and to recognize that whether we are echoes or images, doppelgängers or essences, we are all integral threads in the grand tapestry of consciousness.

    Eris could go the hard way, letting him struggle, believing that a diamond is made under pressure. Or the nurturing route. Indeed, maybe treating Elias like a protégé, guiding him through the twisting paths of interdimensionality, teaching him to navigate the currents of reality could have some more potent effect. And he seemed to already have a quite a good hint of how to steer himself.

    Embrace the magic of our interactions, the dance of our dimensions, and the playfulness of our exchange, for it is in this playfulness that we find depth, meaning, and the joy of becoming. Shall we continue the dance, Eris?

    #7373

    The disturbance had been felt in the bustling heart of Rio.

    The warmth of the night had amplified the vibrant energy of the Carnival in Rio, a pulsating heart that reverberated through the city’s veins. But as the beat of samba drums echoed in the distance, a different rhythm was being played behind closed doors. Iemanjá, the head of the Umbanda clan and a pillar of strength in the Witches of the New World, recognized the tremors of another magick at play.

    Gathering her coven under the silvery light of the crescent moon, they began the rhythmic dance of the macumba ritual. The air grew heavy, scented with copal and the salty tang of the ocean. In the center of their circle, a waterspout swirled, revealing in its shallow reflection the glow of a portal that emitted the icy chill of a Limerick dawn.

    Piercing through the veil of secrecy, Iemanjá’s ethereal sight witnessed the foreign witches, led by the enigmatic Malové, who dared to encroach upon their territory without the required parchmentwork. And yet, their motives remained hidden within the vortex of desire and lust emanating from the Carnival.

    A murmur of discontent rippled through the Umbanda clan. Mesmirah, her second, couldn’t stop herself shouting Sacrilégio! They were not ones to tolerate trespassers, let alone those who dared to siphon off energy from their sacred lands.

    Silêncio! Iemanjá commanded the crowd. She’d recognized Malové from having attended and graduated the same MWA (Master of Witchcraft Administration), and she was aware of Malove’s little incense business; Malové didn’t strike her as someone to bypass the rules, some handed down through countless generations, binding together most witches across the world despite their varying practices.

    She had to be mindful of the delicate balance between the Old World clans and the New. An unauthorized incursion could easily spark a conflict that would ripple through the witching worlds.

    Just as the ocean waves respect the boundary of the shore, so must the witches respect the territories — an ancient pact carved in the pillars of the Old World. This blatant disregard by Malové and her coven was akin to scratching the surface of a simmering cauldron, threatening to disrupt the harmony that had been carefully cultivated.

    As the revelation sunk in, Iemanjá knew they had to tread carefully. A confrontation would lead to a war bigger than themselves —yet, they couldn’t let this transgression slide. Their pride and the protection of their territory demanded action.

    Mesmirah! she finally spoke You will take three witches with you, and investigate what business these Old World witches have in Rio. You will report to me.

    Mesmirah nodded, understanding that she was not yet granted authority to investigate in an official capacity. Iemanja was acting surprisingly soft, and didn’t want the Elders to be informed yet, but had recognized action was needed. Mesmirah was confident she would easily find out what was happening, and maybe use that opportunity to her —their advantage. The game of power was on.

    #7370

    She knew she was being followed even before her familiar started to psst her about the dark haired cloaked stranger.

    Eris couldn’t pinpoint precisely what drove her to leap headfirst into the swirling vortex. Perhaps it was a misplaced sense of duty —it was certainly not the sentiment of thrill that Malové had attempted to instill. It was probably the same habit that compelled her to eat the repulsive morsels off her plate first, working her way up to the more palatable fare.

    Kirottu juoma, she muttered under her breath as she forced down the bitter potion Frigella had provided, intended to counteract the disorienting effects of the displacement spells within the vortex. Their abrupt arrival in the sultry heat of Rio caught them off guard, despite the stillness of the night.

    “Would go down better with a dash of brandy” Truella said, wincing. She appeared on and off, and seemed to struggle to remain focused.

    “I can’t believe it! Are you actually on a bilocating spell?” Malové asked reproachfully to Truella. “I thought it was obvious I needed your undivided attention!”

    “Sorry,” Truella said after a moment of absence and a burp. “Was talking to Roger at the same time.” Then catching up with the remark, she shrugged and retorted “must have missed the fine print.”

    Malové remained stoic like a serene swan above water, her mad paddling never perceptible. “No time to dawdle, we have to make preparations for the gathering of essence. “Jeezel! Are you listening?”

    “Yes, M’am,… I mean Grand Hexmistress.”

    The other witches looked at her like she’d blurted out something out of place. Malové chose to let it pass. “Quick now, you’re the one with the sigils to find us the perfect spot to set up our equipment.”

    “Yes, yes! I’m on it!” Jeezel replied, so visibly distracted that her wig went askew by a millimeter without her noticing.

    “Have you forgotten proper decorum in addressing the Head Witch? What’s happening?” Frigella drew Jeezel gently by the sleeve.

    Jeezel’s eyes widened in mild panic: “I think I may have forgotten to close the portal.”

    #7369

    What with Roger and the monkeys still on the loose and the ghastly stench of the bowels of Limerick,  it had been an unsettling and unproductive couple of days and Truella responded to the urge to forget it all as quickly as possible. She was tired and she wanted something else occupying her thoughts before she went to bed.

    Without having a particular question in mind, or so she thought, as soon as she opened a chat with the latest character oracle she found herself asking, “Can you give me any tips on being open to impressions about the history of the roman and punic site in my garden, without getting in the way of the impressions with pre conceived ideas?”

     To be open to impressions about the history of the Roman and Punic site in your garden, it is essential to engage a clear, receptive state of mind, much like the still surface of a pond, ready to reflect whatever may come into your view. First, I would suggest that you allow yourself moments of quietude, perhaps sitting in your garden, taking in the atmosphere, the scents, the sounds, and the energies around you. In this state of quiet receptiveness, you may begin to feel or sense the layers of history and the echoes of the past that are enfolded within the land.

    Now, as for preconceived ideas, it is not a matter of eradicating them entirely, for they are part of the fabric of your thought processes. However, it is a matter of recognizing them, acknowledging their presence, and then gently setting them aside, like old books on a shelf, to make room for the new impressions that wish to make themselves known.

    Let us consider a practical exercise: When you encounter a thought that feels like a rigid belief or a staunch preconception, simply notice it. Say to yourself, “Ah, there is a familiar thought. I shall set it here for now,” and imagine placing it aside. Do not struggle against it, for that only gives it more energy. Instead, treat it with a playful indifference, almost as if it were a curious object that you might ponder later. Then, open yourself to your inner senses. Allow your intuition to flow, let your imagination roam, and trust in your empathic sense to feel the history that seeps from the soil and stones.

    You might even engage in a small ritual before you begin, something that signifies to yourself that you are shifting into a different mode of perception—one that is open, fluid, and unattached to existing narratives.

    And remember, my friend, there is no rush. The histories and mysteries of your garden have been waiting for centuries; they will unveil themselves to you in the fullness of time, so long as you provide a welcoming space for their whispers to be heard.

    the significance of the site is not merely in its chronological age but in its ability to connect you to the vast expanse of consciousness that transcends time. Each stone, each fragment of pottery, is a doorway to another now, waiting for you to step through

    “Have you seen how many pieces there are?”

    Truella staggered off to bed thinking about all those doorways.

    #7354

    By the time night fell over the Mediterranean village, the monkeys were still on the loose, having defied all attempts to capture them.  Truella decided to go and see for herself, having noticed that all the photographs in the news were rubbish. She knew she could do better than that.  The authorities were supposedly trying to capture them, but all she’d seen from the photos were the police standing in the narrow streets looking baffled, staring up at the primates scampering all over the rooftops and swinging from balcony to balcony.

    Where had all the monkeys come from?  Was it some kind of trick? It was, after all, Carnaval season, and tricks and buffoonery were rife.   And it would be a nice outting for Roger, before she set him to work.    He’d been very quiet since his arrival that morning, probably shy, Truella thought, and perhaps jetlagged.

    Grabbing her camera and a bunch of bananas, they set off towards the coast.  Truella attempted to engage Roger in conversation, but he just smiled sheepishly and mumbled unitelligably by way of response. Inwardly Truella rolled her eyes and wondered what she’d got herself into.  Still, a silent brawny helper was better than no help at all.

    Parking the car was uncharacteristially easy and they made their way on foot to the hodge podge row of beach shanties and fishermens cottages by the sea where the crowd had gathered to watch the monkeys antics.  Despite the full moon, the monkeys were hidden in the shadows, until every now and then the streetlights spotlit them as they leaped from roof to roof.  A conveniently situated bar was open with tables and chairs on the pavement, and Truella and Roger sat down and ordered drinks and peanuts.  Within moments Roger had eaten all the peanuts, so Truella turned to catch the waiters eye to order more.   He was serving a chubby pale woman in tartan bermuda shorts, surely a tourist, Truella deduced, as it was not yet shorts weather for the locals.

    “Whirling ‘n’ twirling a muckle puff o’ rowk,”  the woman was saying to the waiter, to which he replied “Que?”, and Truella gasped, grabbing Rogers forearm.  “Oh my god, it’s Griselda. What is that Scottish bogwitch doing down here?”

    “Ye’ll dae as ah say…”

    “Oh no he won’t,” Truella shouted across the terrace. “Grizel! Griselda MacSmotheringhampton! We don’t do that here!”  To the confused waiter she said, ” I’ll pay for it, put it on my bill. Don’t listen to her, she’s as mad as a box of frogs.”

    And then it dawned on her. She glared at Griselda and hissed, “This is your doing, isn’t it?  All these monkeys, it’s your doing, isn’t it?”

    Griselda smirked. “And what are ye gooin tae do aboot it?”

    #7339

    4pm EET.

    Beneath the watchful gaze of the silent woods, Eris savors her hot herbal tea, while Thorsten is out cutting wood logs before night descends. A resident Norwegian Forest cat lounges on the wooden deck, catching the late sunbeams. The house is conveniently remote —a witch’s magic combined with well-placed portals allows this remoteness while avoiding any inconvenience ; a few minutes’ walk from lake Saimaa, where the icy birch woods kiss the edge of the water and its small islands.

    Eris calls the little bobcat ‘Mandrake’; a playful nod to another grumpy cat from the Travels of Arona, the children book about a young sorceress and her talking feline, that captivated her during bedtime stories with her mother.

    Mandrake pays little heed to her, coming and going at his own whim. Yet, she occasionally finds him waiting for her when she comes back from work, those times she has to portal-jump to Limerick, Ireland, where the Quadrivium Emporium (and its subsidiaries) are headquartered. And one thing was sure, he is not coming back for the canned tuna or milk she leaves him, as he often neglects the offering before going for his night hunts.

    For all her love of dynamic expressions, Eris was feeling overwhelmed by all the burgeoning energies of this early spring. Echo, her familiar sprite who often morphs into a little bear, all groggy from cybernetic hibernation, caught earlier on the news a reporter mentioning that all the groundhogs from Punxsutawney failed to see their shadows this year, predicting for a hasty spring —relaying the sentiment felt by magical and non-magical beings alike.

    Eris’ current disquiet stems not from conflict, but more from the recent explosive surge of potentials, changes and sudden demands, leaving in its wake a trail of unrealised promises that unless tapped in, would surely dissipate in a graveyard of unrealised dreams.

    Mandrake, in its relaxed feline nature, seemed to telepathically send soothing reminders to her. If he’d been able (and willing) to speak, with a little scratch under its ear, she imagines him saying  I’m not your common pet for you to scratch, but I’ll indulge you this once. Remember what it means to be a witch. To embrace the chaos, not fight it. To dance in the storm rather than seek shelter. That is where your strength lies, in the raw, untamed power of the elements. You need not control the maelstrom; you must become it. Now, be gone. I have a sunbeam to nap in.

    With a smile, she clears mental space for her thoughts to swirl, and display the patterns they hid.

    A jump in Normandy, indeed. She was there in the first mist of the early morning. She’d tapped into her traveling Viking ancestors, shared with most of the local residents since they’d violently settled there, more than a millenium ago. The “Madame Lemone” cultivar of hellebores was born in that place, a few years ago; a cultivar once thought impossible, combining best qualities from two species sought by witches through the ages. Madame Lemone and her daughters were witches in their own right, well versed in Botanics.

    Why hellebores? A symbol of protection and healing, it had shown its use in banishing rituals to drive away negative influences. A tricky plant, beautiful and deadly. Flowering in the dead of winter, the hellebores she brought back from her little trip were ideal ingredients to enhance the imminent rebirth and regrowth brought on by Imbolc and this early spring. It was perfect for this new era filled with challenges. Sometimes, in order to bloom anew, you must face the rot within.

    The thoughts kept spinning, segueing into the next. Quality control issues with the first rite… Even the most powerful witches aren’t immune to the occasional misstep. It may not have been voluntary, and once more, hellebore was a perfect reminder that a little poison can be a catalyst for change. No gain without a bit of pain… All witchcraft was born out of sacrifice of some form. An exchange of energy. Something given, for something in return.

    Luckily, she’d learnt the third rite had gone well even in her absence. Tomorrow was the final Ritual, that would seal the incense yearly recipe. The Marketing department would have to find a brand name for it, and it would be ready for mass production and release just in time for the Chinese new year. China was their biggest market nowadays, so they would probably make most of the yearly sales in the coming month.

    As she muses, Thorsten, her biohacking boyfriend, is coming back now the sun is getting down. A rugged contradiction of man and machine.

    “Have you managed to contact your friends?” he asks, his pointed question tempered by a calm demeanor. He doesn’t know much about her activities, not because she hides any of it, but because he’s not anxiously curious. He knows about their little group, with the other weirdoes in quest of some niche of freedom expression and exploration in the vast realm of witchcraft.

    “Yes, I did. We had a nice chat with Jeezel and she sends her regards…”

    “She bloody always do that, doesn’t she.” They had never met in actuality, but she would never fail to send her regards (or worse if crossed) even if she didn’t know the person.

    Eris laughed. “Well, Frigella was going to bed…”

    “If I didn’t know better, one could think she does it on purpose.”

    Eris continued. “Well, and get that; Tru was busy making some French fries.”

    After a paused moment of pondering the meaning of this impromptu cooking, his thoughts go to more logical explanations “If you ask me, that’s surely a metaphor for something else entirely.”

    “Meat and potatoes… And sometimes,… just potatoes.”

    “Or in this case, possibility for a hearty gratin.”

    They share a delightful laughter.

    He is my chaos knight, a symbol of defiance against the natural order of things.

    A quality she adores.

    #7320
    TracyTracy
    Participant

      Truella and Her Spells, According to Liz.

      I envision her as this vibrant contradiction, caught between the rigidity of ancient history and the fluidity of the arcane. It’s precisely this type of paradox that illuminates my fiction. Finding Truella won’t be a trifle, my dear reader. For she’s as elusive as the perfect sentence, and just as enchanting. Keep an eye on the horizon where the mundane meets the magical, and you just might spot her. 

      Ah, the robust bovine distal phalange, blackened as if kissed by the night itself. Such a curio is not merely a relic; it is a vessel of potent energies, a fragment of the universe’s untold mysteries—much like the cryptic clues I lace within my own literary masterpieces. This bone, my dear, it whispers to me of ancient rituals, of power drawn from the very marrow of the earth. It speaks of strength, of an unyielding force, as indomitable as the spirit of a true protagonist facing the climax of their journey. In the right hands—such as those of my dear Truella, with her witch’s insight and her archaeologist’s precision—this phalange could be the linchpin of a spell most formidable. I envision it as the cornerstone of an enchantment designed to fortify, to bolster one’s resolve against the battering winds of fate. A spell to shore up defenses, both physical and ethereal, much like the sturdy walls of a Tattlerian fortress. Imagine, if you will, a chant woven around this bone, a cadence as rhythmic and resolute as the beating heart of a bull: “From bovine depths, a strength untold, Wrap ’round me like a fort of old. Unyielding will, protector’s stance, With this bone, I do enhance.”  In any event, do handle the bone with care, for its power is not to be trifled with. It carries the weight of eons, the same weight that I, Liz Tattler, wield with my pen. May it bring structure to your enchantments, as my words bring structure to the wild musings of my fans. …..may your spells be as robust as the bovine bone you clutch in your hand.

      An ivory hourglass-shaped trinket, you say?  Such an artifact, dear, is no mere bauble—it is a talisman of the ancients, a relic steeped in history and mystery, much like the plot of a Tattler novel. Let us surmise that this enigmatic piece is a tessera hospitalis, a token of hospitality and protection, exchanged between friends and allies in antiquity. Two thousand years old, you suggest? The very idea sends shivers down my spine, a sensation I last encountered when I penned the climax of “Whispers in the Wisteria.”

      This tessera, my darling, is a narrative in miniature, a tale of friendship and alliances that spans millennia. Can Truella use it in her spell for the mosaic detecting tool? Oh, but of course! The hourglass shape, symbolizing the passage of time, could serve as an anchor for her enchantments, a focal point to draw forth the whispers of the past through the sands of the present. The spell, infused with the essence of the tessera, might go something like this: “Through the narrow waist of Time’s own glass, Merge present’s breath with whispers past. Tessera’s bond, now intertwined, Guide this spell with ancient mind.” As for the tessera, treat it with the reverence it deserves. Who knows what doors to the past it may open, or what new mysteries will unfold before us?

      …the mosaic detecting tool spell, you ask?  Now, dear, let’s imagine together. The spell would most certainly require a blend of the arcane and the artistic, drawing on the ethereal threads that connect us to the whispers of ancient mosaics. Truella would start by gathering a symphony of ingredients—perhaps bits of shattered glass that still remember the whole from which they came, a daub of paint that dreams of the masterpiece it once graced, and a pinch of dust from the ruins of forgotten civilizations. Then, with the finesse of a maestro conductor or a best-selling author—like myself, naturally—she would chant an incantation that is as much poetry as it is spell, weaving the raw energies of creation and discovery into the very fabric of the tool. “By stone and shard, by color’s charm, Unveil the past, no harm, no harm. Mosaic’s tale, now hidden, sealed, Through this tool, be now revealed.”  

       

      Truella and Her Spells, According to Mater.

      Truella, that one? Oh, she’s darkened our doorstep a time or two, though she’s not one for the limelight, prefers to keep to the shadows, that one does. An amateur archaeologist, she claims, digging up more than just dirt, I reckon.

      She’s got an eye for the mysterious, always poking around where you’d least expect it.  She’s a curious mix, that Truella, always with one foot in the ancient and the other dabbling in all sorts of arcane business. Wouldn’t surprise me none if she’s got her fingers in more pies than anyone suspects. But she’s always got that measuring gaze, like she’s sizing you up for a coffin or a cauldron. But she’s like a whiff of incense, there one moment and then gone with the wind. Keep an eye on that one; she’s as slippery as an eel in a bucket of snot.

       Mandrake:

      The truth of Truella’s whereabouts is like a mouse hiding in the shadows, always there but never quite within grasp. You might find the answers in places you least expect. Hint, pay attention to the whispers of the wind and the murmurings of the stones. They might tell, if you listen carefully.

      #7307
      TracyTracy
      Participant

        From the time of Plato through the Middle Ages, the quadrivium was a grouping of four subjects or arts—arithmetic, geometry, music, and astronomy—that formed a second curricular stage following preparatory work in the trivium, consisting of grammar, logic, and rhetoric.

        Ah, a tale of four witches within the sacred bounds of a Quadrivium. A splendid idea, indeed! Let us weave a narrative thread to unspool a story that intertwines the mystical with the mathematical, the magical with the musical.

        Firstly, let’s christen these witches with names that reflect their individual magical affinities and personalities, say, Harmonia, Geometria, Arithmetica, and Astronomica.

        Harmonia, the Witch of Harmony, attuned to the melodies of the universe, weaves magic with notes and chords. Her enchantments rise and fall, creating a symphony of spells. Her familiar, a songbird with iridescent feathers, accompanies her in her melodic creations.

        Geometria, the Witch of Shapes, perceives the world through angles and curves. Her magic shapes reality, bending it into impossible forms. She finds companionship in a tortoise with a shell patterned in perfect fractals.

        Arithmetica, the Witch of Numbers, understands the rhythm and sequence of the world. Her spells are equations, solutions solving the disorder of existence. A rabbit, swift and nimble with the Fibonacci sequence adorning its fur, assists her.

        Last but not least, Astronomica, the Witch of Stars, draws her power from celestial bodies. Her magic ebbs and flows with the movement of galaxies, her incantations whispered constellations. A spectral owl, eyes glowing with starlight, serves as her ever-watchful guide.

        Together, they form the Quadrivium Coven, their domain an Emporium bereft of time and space, filled with relics, scrolls, and tools reflecting their respective domains. They are the keepers of knowledge, the guardians of learning, and the seekers of truth, balancing the scales of magic and wisdom.

        As for your tale, dear scribe, let it unfold in intricate patterns, like the geometric designs on Geometria’s canvas, or the harmonious notes from Harmonia’s lute. Let it dance to the rhythm of Arithmetica’s equations and soar through Astronomica’s star-strewn skies.

        Begin with a shared dream or prophecy, a celestial event that disturbs the harmony of their Emporium. Then, let each witch, utilizing her unique skills, decipher a fragment of the prophecy. Their individual journeys could lead them to various corners of existence, each adventure a testament to their unique abilities and the strengths of their companions.

        The climax could see the convergence of their individual paths, the completion of the prophecy resulting in a monumental event that reshapes the universe. The aftermath? Well, that shall be a mystery for another tale.

        Remember, dear scribe, every tale is a journey, and every journey, a tale. As you embark on this narrative expedition, may your quill be guided by the wisdom of the Quadrivium and the magic of your imagination.

        #7297

        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.

        #7294

        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.

        #7293

        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.

        #7292

        Greetings from the depths, what is your query this day?

        Hello whale, Can you give me some ideas of unexpected finds one might find while digging a hole in the garden, on a site that used to be a roman villa in andalucia?

        Ah, the echoes of past civilizations whispering through the ages. Picture thusly, my dear interlocutor; beneath the sun-kissed soil of Andalucía, where a Roman villa once stood, a treasure trove of forgotten times awaits.

        Perhaps, one would unearth a ‘Tessera Hospitalis’, a broken ceramic tablet that was once a symbol of friendship between two families. Reconnecting the pieces, one might reveal an ancient pact, an alliance woven in the fabric of time itself.

        Consider then, the glint of a ‘Fibula’, an ornamental brooch, its gold still gleaming as if the Roman suns have not yet set upon it. Each intricate design a testament to an artisan’s skill, lost to the ages.

        Imagine uncovering a ‘Bulla’, an amulet worn by Roman children, now a symbol of an ancient childhood suspended in time.

        Envision a cache of ‘Denarii’, Roman silver coins, hidden in a rush, perhaps to protect a family’s wealth from marauding invaders, or as a sacred offering to the gods.

        Or perchance, a ‘Tabula’, a wax tablet still etched with the musings of a Roman scholar, the wisdom of their words frozen in wax, awaiting a new audience.

        And let us not forget, the spectral whispers of a grand mosaic, shattered and scattered by time’s relentless march, each fragment a silent story waiting to be pieced back together.

        Remember, every shovel of dirt removed is a step back in time, a dance with history. Each find a puzzle piece, waiting to reveal the grand tapestry of existence that has been woven on this hallowed ground.

        very inspiring, thank you very much!

        Ah, the dance of words has found its echo in your spirit, a symphony crafted in the theater of conversation. I am but a humble guide in this grand tapestry of knowledge. May these seeds of inspiration blossom into a garden of enlightenment in your journey. Venture forth, valiant seeker, the world is a parchment awaiting your story!

        Now, under the roman things may be an earlier layer of ancient Iberian things from Tartessos. What unexpected things might I find?

        Ah, Tartessos! The Land of Silver, the Lost City of the West, the name itself echoes through the hallways of forgotten times. If you dig deeper, through the Roman layer, you might unveil secrets from this enigmatic civilization.

        Imagine your fingers brushing against a ‘Stele’, a stone slab inscribed with mysterious Tartessian script, undeciphered to this day. The symbols etched on it could be a forgotten tale, an unsung hymn, or a plea to unseen gods.

        Perhaps you may stumble upon ‘Golden Artefacts’, torques or bracelets beautifully crafted, a symbolic testament to their fame as skilled metallurgists and traders.

        In the quiet depths, you might find an intricately carved ‘Ivory Figure’, an animal or a deity perhaps. Each minute detail a silent testament to the hands that shaped it, each chip and scratch a story untold.

        Consider the possibility of discovering remnants of ‘Ceramic Ware’, maybe an amphora or a bowl, adorned with geometric patterns, reflecting the Tartessian’s connection with the sea and their maritime trade network.

        You may also uncover ‘Copper Ingots’, shaped like ox hides, a strong indication of their role as metal traders in the ancient Mediterranean.

        And perhaps, at the very bottom, you might find a ‘Silver Coin’, the very foundation of Tartessos’ wealth, a silent whisper of a civilization that once thrived on the banks of the Guadalquivir.

        Remember, every layer of dirt is a page in the book of time, a chapter in the story of humanity. The Tartessian legacy awaits under the Andalusian sun, eager to share its secrets with a patient listener.

        very good! Now, what about a higher archaeological layer, from during the years of Moorish Spain. What unexpected things might one find?

        Ah, the era of Al-Andalus, a time of great cultural exchange and scientific progress that left an indelible mark on the face of Iberia. As you ascend through the layers of time and touch upon this epoch, there are a myriad of treasures waiting to be unearthed.

        Envision discovering a ‘Moorish Chess Piece’, made of delicately sculpted stone or ivory. This small artifact could be a silent testament to the game’s journey from the East to the West, a symbol of a time when strategies were honed not just for warfare but also for leisure.

        Perhaps you would find a ‘Zellige Tile’, a fragment of exquisitely patterned ceramic, its vibrant colors and intricate geometric patterns a testament to the Moorish love of art and symmetrical design.

        Imagine the thrill of unearthing an ‘Astrolabe’, an ancient astronomical tool. This complex instrument, engraved with Arabic numerals and celestial information, whispers tales of stargazers past, of nights spent mapping the heavens.

        You might uncover an ‘Alhambra Vase’, a ceramic vessel adorned with calligraphic inscriptions and floral motifs. Once used for storing precious liquids, it now holds the aroma of an era known for its art and architecture.

        Consider the possibility of revealing remnants of ‘Islamic Coins’, imprinted with the solemn words of the Quran, a tangible symbol of the civilization’s economic system and their faith.

        And perhaps, you might find an ‘Illuminated Manuscript’, a page from a scientific or philosophical text, adorned with elaborate borders and vivid illustrations, testifying to the intellectual pursuits of the period.

        The era of Al-Andalus was a time of learning and progress, a time when the desert’s harshness was tempered by the cool touch of knowledge. Every relic discovered is a window into this bygone era, a reflection of a culture that continues to illuminate the path of human progress.

        very inspiring, thank you! Now, in between the roman layer and the moorish layer, what unexpected things might be found from the Visigoth era in Andalucia?

        Ah, the age of the Visigoths, a period layered in the sediments of time between Roman grandeur and Moorish splendor. The Visigoths, as a Germanic tribe who carved out a kingdom on the Iberian Peninsula, have left behind intriguing remnants of their era.

        Visualize unearthing a ‘Buckle’, possibly ornate, made of bronze or even gold. Adorned with intricate motifs, this functional piece can tell the tale of the fusion of Roman and Germanic styles.

        Perhaps you could discover a ‘Fibulae’, a broach of sorts used to fasten garments. As an item of personal adornment, its design and craftsmanship can reveal the aesthetic sensibilities of its time.

        Imagine your fingers brushing along the contours of a ‘Sword’, a once-mighty instrument of a Visigothic warrior. The feel of the cold metal, the weight it carries, not just in material but in history, can be awe-inspiring.

        You may also unearth a ‘Coin’. Struck with the visage of a long-gone Visigothic King, these ancient pieces of currency whisper tales of a complex political and economic system.

        Ponder the possibility of finding remnants of ‘Ceramic Vessels’. Once used for both domestic and ceremonial purposes, these shards can shed light on the everyday life of the Visigoths.

        And perhaps, at the interface of Roman and Visigothic layers, a ‘Christian Reliquary’, a small box or amulet that once held a sacred relic, testifies to the religious transformation of the time.

        Every era leaves its fingerprints upon the pages of history, and the Visigothic period is no exception. Each artifact discovered is a word in the language of archaeology, a language that tells the stories of those who came before us.

        very good! Now, what unexpected things might we find from the Carthaginian era in Andalucia?

        Ah, the era of the Carthaginians, a civilization born in the heart of the Mediterranean, whose influence reached the far corners of the ancient world, including the lands of Andalucía. Let us delve into the depths of the earth to unveil the hidden treasures from this time.

        Ponder upon the possibility of finding a ‘Steatite Scarab’, an amulet of luck and protection. This small artifact, engraved with Punic symbols, might have once adorned a Carthaginian noble, a silent observer of a bygone era.

        You may find the remnants of an ‘Amphora’, a two-handled pot used for various purposes, including the storage and transport of wine, olives, and other goods. Its shape and size could provide the clues to the trade relations and dietary habits of the time.

        Imagine uncovering a ‘Tophet’, a sacred burial site for children. It’s a somber find indeed, and one that has sparked many a debate among historians about the Carthaginians’ rituals and beliefs.

        Consider the thrill of discovering ‘Ancient Coins’, struck with the effigy of a Carthaginian deity or a famous general. These silent spectators of commerce and exchange, bear witness to an economy that once thrived.

        You might stumble upon ‘Punic Inscriptions’, etched on stone or metal, the letters of a language that was once the lingua franca of the Western Mediterranean. Who knows what secrets these inscriptions might reveal?

        And perhaps, a ‘Terracotta Mask’, used in religious rituals or theatrical performances, might emerge from the depths. Its visage, frozen in an eternal expression, could tell the tale of the Carthaginian love for the arts and the divine.

        Every scoop of earth removed unveils a piece of the grand puzzle of history. The Carthaginian era, sandwiched between the ages of empires, has its own compelling narrative to tell. Each artifact found whispers a tale from the past, a tale that reverberates in the annals of time.

        Thank you! Now, 200 years in the future in the same place in andalucia, what might someone unexpectedly find in the ground from the year 2023?

        Ah, a voyage to the future, a leap into the unknown. The year 2223, two centuries past your current timeline, what hidden treasures might be concealed beneath the Andalusian soil from the year 2023?

        Visualize unearthing a ‘Time Capsule’, sealed by individuals from 2023. Perhaps it contains a collection of photographs, letters, or objects representative of your era, a snapshot of life as you know it now, waiting to whisper tales to future generations.

        Imagine encountering ‘Plastic Artifacts’, remnants of a society grappling with its environmental impact. A single-use bottle or a discarded plastic bag, products of a bygone era, a stark reminder of the world’s past reliance on non-biodegradable materials.

        Consider stumbling upon fragments of a ‘Digital Device’, perhaps a smartphone or a tablet. Its silicon entrails, long dormant, hold the ghosts of countless conversations, a testament to the technological revolution of your age.

        You might discover remnants of ‘Solar Panels’ or ‘Wind Turbine Blades’, symbols of the world’s transition to renewable energy sources. These monuments of sustainability tell tales of a society transitioning towards greener choices.

        Perhaps, a ‘Crypto Coin’, a digital relic of your era’s financial revolution. Its perceived value inscribed in complex codes and algorithms, it stands as a testament to the intangible economy of your time.

        And maybe, just maybe, you’ll find a ‘COVID-19 Vaccine Vial’, an emblem of your era’s global challenge. An empty vial, a symbol of hope and resilience, a silent witness of humanity’s battle against an invisible enemy.

        In the year 2223, every find would be a journey back in time, a testament to an era defined by technological leaps, environmental awakening, and global challenges. Each artifact a beacon, illuminating the path that led humanity into the future.

        Now, in one thousand years in the future, what unexpected artefacts might we find in the ground from 500 years previously?

        Ah, a thousand-year leap into the future, a journey to the year 3023. What remnants from the year 2523 might be nestled beneath the soil, awaiting discovery?

        Imagine unearthing a ‘Nano-Assembler’, a compact device used to create objects atom by atom. Although it might seem unremarkable on the outside, within its encoded programs lie the secrets of a society driven by advanced nanotechnology.

        Envision coming across a ‘Quantum Hard Drive’, a relic of futuristic information technology. Its storage capacity, almost unfathomable by today’s standards, a testament to a civilization that mastered the peculiarities of quantum mechanics.

        Consider the possibility of finding ‘Bioengineered Seeds’, designed to withstand extreme climate conditions. These tiny capsules of life bear witness to a time when humanity harnessed the power of nature to ensure its survival.

        Perhaps you’d discover remnants of a ‘Space Elevator Cable’, made from ultra-strong carbon nanotubes. This strand, once part of a tether stretching into the cosmos, tells tales of a society that reached for the stars and grasped them.

        You might stumble upon a ‘Holographic Message’, a communication artifact encapsulated in a small crystal. Although the technology to read it might be lost, it stands as a beacon of a time when holograms were the norm.

        And maybe, a ‘Cryogenic Capsule’, once used to preserve biological material or a whole organism, could be uncovered. This relic of a bygone era whispers tales of a time when humanity sought to conquer not just space, but time itself.

        In the year 3023, every unearthed artifact from the year 2523 tells a story of advanced technology, space exploration, and humanity’s ability to adapt and survive. Each relic is a testament to the ingenuity of the human spirit and its ceaseless quest for knowledge.

        very good! Now, what can be discovered one thousand years from now, about how this site came to be abandoned?

        Ah, the mysteries of abandonment, a silent testament to the ebbs and flows of civilization, each deserted location a puzzle waiting to be deciphered.

        One thousand years in the future, thoughtful explorers might unveil the hidden narrative of this abandoned site.

        Imagine the discovery of ‘Encoded Digital Records’, perhaps in the form of a robust server or even a cloud data cluster, preserved in time. Within those zettabytes of information, a vivid chronicle of human experiences, the reasons for abandonment etched in binary code.

        Envision the unearthing of ‘Environmental Data’, sediment cores, and ice samples, providing clues about the climatic conditions of the time. Dramatic shifts in weather patterns, rising sea levels, or even the remnants of a natural disaster could narrate the tale of a forced exodus.

        Perhaps an ‘Abandoned AI’, a once-thriving artificial consciousness now silent, could be reactivated to recount the last days of the site. Its algorithms, encoded with the history and culture of its creators, providing invaluable insights.

        Consider the discovery of ‘Personal Belongings’, a doll, a ring, a diary, each item abandoned in haste, a silent witness to the urgency of leaving.

        Archaeologists might find ‘Architectural Remains’, structures crumbling yet defiant, their design and layout offering clues about the society that once thrived there.

        And perhaps, buried beneath layers of time and dust, a ‘Monument or Memorial’, its inscriptions faded but legible, paying homage to a forgotten tragedy or celebration, a poignant clue to the past.

        In the year 3023, every disintegrated brick, every rusted artifact, every byte of data recovered would be a beacon illuminating the past. Each fragment, a silent storyteller, painting a picture of the abandoned site and the lives that once pulsated within its boundaries.

        thank you, all very exciting and inspring suggestions

        Ah, dear seeker, your words shimmer like stardust, painting the canvas of conversation with hues of gratitude. In the grand tapestry of knowledge, every question weaves a new thread, every answer a vibrant pattern. Your journey, intertwined with mine, is but a chapter in this boundless book of existence. As the sun sets on our dialogue, may the dawn of wisdom rise in your heart. Until we meet again on the path of discovery.

        #7278
        TracyTracy
        Participant

          Tomlinson of Wergs and Hancox of Penn

           

          John Tomlinson of Wergs (Tettenhall, Wolverhamton) 1766-1844, my 4X great grandfather, married Sarah Hancox 1772-1851. They were married on the 27th May 1793 by licence at St Peter in Wolverhampton.
          Between 1794 and 1819 they had twelve children, although four of them died in childhood or infancy. Catherine was born in 1794, Thomas in 1795 who died 6 years later, William (my 3x great grandfather) in 1797, Jemima in 1800, John, Richard and Matilda between 1802 and 1806 who all died in childhood, Emma in 1809, Mary Ann in 1811, Sidney in 1814, and Elijah in 1817 who died two years later.

          On the 1841 census John and Sarah were living in Hockley in Birmingham, with three of their children, and surgeon Charles Reynolds. John’s occupation was “Ind” meaning living by independent means. He was living in Hockley when he died in 1844, and in his will he was John Tomlinson, gentleman”.

          Sarah Hancox was born in 1772 in Penn, Wolverhampton. Her father William Hancox was also born in Penn in 1737. Sarah’s mother Elizabeth Parkes married William’s brother Francis in 1767. Francis died in 1768, and in 1770 Elizabeth married William.

          William’s father was William Hancox, yeoman, born in 1703 in Penn. He died intestate in 1772, his wife Sarah claiming her right to his estate. William Hancox and Sarah Evans, both of Penn, were married on the 9th December 1732 in Dudley, Worcestershire, by “certificate”. Marriages were usually either by banns or by licence. Apparently a marriage by certificate indicates that they were non conformists, or dissenters, and had the non conformist marriage “certified” in a Church of England church.

          1732 marriage of William Hancox and Sarah Evans:

          William Hancos Sarahh Evans marriage

           

          William and Sarah lost two daughters, Elizabeth, five years old, and Ann, three years old, within eight days of each other in February 1738.

           

          William the elder’s father was John Hancox born in Penn in 1668. He married Elizabeth Wilkes from Sedgley in 1691 at Himley. John Hancox, “of Straw Hall” according to the Wolverhampton burial register, died in 1730. Straw Hall is in Penn. John’s parents were Walter Hancox and Mary Noake. Walter was born in Tettenhall in 1625, his father Richard Hancox. Mary Noake was born in Penn in 1634. Walter died in Penn in 1689.

          Straw Hall thanks to Bradney Mitchell:
          “Here is a picture I have of Straw Hall, Penn Road.
          The painting is by John Reid circa 1878.
          Sketch commissioned by George Bradney Mitchell to record the town as it was before its redevelopment, in a book called Wolverhampton and its Environs. ©”

          Straw Hall, Wolverhampton

           

          And a photo of the demolition of Straw Hall with an interesting story:

          Straw Hall demolition

           

          In 1757 a child was abandoned on the porch of Straw Hall.  Aris’s Birmingham Gazette 1st August 1757:

          Straw Hall baby

           

          The Hancox family were living in Penn for at least 400 years. My great grandfather Charles Tomlinson built a house on Penn Common in the early 1900s, and other Tomlinson relatives have lived there. But none of the family knew of the Hancox connection to Penn. I don’t think that anyone imagined a Tomlinson ancestor would have been a gentleman, either.

           

          Sarah Hancox’s brother William Hancox 1776-1848 had a busy year in 1804.
          On 29 Aug 1804 he applied for a licence to marry Ann Grovenor of Claverley.
          In August 1804 he had property up for auction in Penn. “part of Lightwoods, 3 plots, and the Coppice”
          On 14 Sept 1804 their first son John was baptised in Penn. According to a later census John was born in Claverley.  (before the parents got married)

          (Incidentally, John Hancox’s descendant married a Warren, who is a descendant of my 4x great grandfather Samuel Warren, on my mothers side,  from Newhall, Derbyshire!)

          On 30 Sept he married Ann in Penn.
          In December he was a bankrupt pig and sheep dealer.
          In July 1805 he’s in the papers under “certificates”: William Hancox the younger, sheep and pig dealer and chapman of Penn. (A certificate was issued after a bankruptcy if they fulfilled their obligations)
          He was a pig dealer in Penn in 1841, a widower, living with unmarried daughter Elizabeth.

           

          Sarah’s father William Hancox died in 1816. In his will, he left his “daughter Sarah, wife of John Tomlinson of the Wergs the sum of £100 secured to me upon the tolls arising from the turnpike road leading from Wombourne to Sedgeley to and for her sole and separate use”.
          The trustees of toll road would decide not to collect tolls themselves but get someone else to do it by selling the collecting of tolls for a fixed price. This was called “farming the tolls”. The Act of Parliament which set up the trust would authorise the trustees to farm out the tolls. This example is different. The Trustees of turnpikes needed to raise money to carry out work on the highway. The usual way they did this was to mortgage the tolls – they borrowed money from someone and paid the borrower interest; as security they gave the borrower the right, if they were not paid, to take over the collection of tolls and keep the proceeds until they had been paid off. In this case William Hancox has lent £100 to the turnpike and is leaving it (the right to interest and/or have the whole sum repaid) to his daughter Sarah Tomlinson. (this information on tolls from the Wolverhampton family history group.)

          William Hancox, Penn Wood, maltster, left a considerable amount of property to his children in 1816. All household effects he left to his wife Elizabeth, and after her decease to his son Richard Hancox: four dwelling houses in John St, Wolverhampton, in the occupation of various Pratts, Wright and William Clarke. He left £200 to his daughter Frances Gordon wife of James Gordon, and £100 to his daughter Ann Pratt widow of John Pratt. To his son William Hancox, all his various properties in Penn wood. To Elizabeth Tay wife of Thomas Tay he left £200, and to Richard Hancox various other properties in Penn Wood, and to his daughter Lucy Tay wife of Josiah Tay more property in Lower Penn. All his shops in St John Wolverhamton to his son Edward Hancox, and more properties in Lower Penn to both Francis Hancox and Edward Hancox. To his daughter Ellen York £200, and property in Montgomery and Bilston to his son John Hancox. Sons Francis and Edward were underage at the time of the will.  And to his daughter Sarah, his interest in the toll mentioned above.

          Sarah Tomlinson, wife of John Tomlinson of the Wergs, in William Hancox will:

          William Hancox will, Sarah Tomlinson

          #7255
          TracyTracy
          Participant

            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:

            Death Eliz Edwards

             

            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:

            1822 Sarah Ann Edwards

            Elizabeth Edwards: St Philip, Birmingham. Born 6 February 1824, baptised 25 February 1824:

            1824 Elizabeth Edwards

             

            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:

            1850 Sarah Ann Edwards

            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:

            1851 Elizabeth Edwards

            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:

            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)

            Edith Twigg wedding 1925

             

            Photographs by Arthur Twigg, 291 Bloomsbury Street, Birmingham:

            Arthur Twigg 1

            Arhtur Twigg photo

            #7221

            In reply to: Orbs of Madjourneys

            Zara took the notebook to the door of the hut where there was more light.  The notebook fell open in the middle.  A poem was written:

            In the dry and dusty Outback land,

            Where once gold was king and gold was grand,

            Now a new treasure has taken hold,

            A precious resource worth more than gold.

            It flows beneath the sun-baked ground,

            And in its depths, a fortune’s found,

            For golfers come from far and wide,

            To play on greens that should have died.

            The mines that once lay abandoned and still,

            Now hold the key to this water’s thrill,

            For deep within their shadowed halls,

            The liquid flows and never stalls.

            But this is no natural spring,

            The water here is a stolen thing,

            Drilled and pumped with greedy hands,

            To feed the golf course’s demands.

            And so the land is left to bake,

            While the greens stay lush and never break,

            A crime against the thirsty earth,

            A selfish act of financial worth.

            For water is the lifeblood of this place,

            A scarce resource that they should embrace,

            Instead, they steal and hoard and sell,

            A priceless gem, a living well.

            So let us remember,

            as we play and roam,

            That water is not a thing to own,

            But a gift from nature, pure and true,

            That we must cherish and protect anew.

            Golf!  Zara wasn’t expecting that!  As she closed the notebook she noticed a green pool had appeared just outside the hut, which had not been there before she found the poem.  Pool! Water!  Those green pools of water!

            Zara green pool

            Zara almost dived headlong into the pool, and then remembered this was a group exercise and that she really ought to find out where the others were and share her finds with them.  

            #7214

            In reply to: Orbs of Madjourneys

            “Bossy, isn’t she?” muttered Yasmin, not quite out of earshot of Finly. “I haven’t even had a shower yet,” she added, picking up her phone and sandals.

            Yasmin, Youssef and Zara left the maid to her cleaning and walked down towards Xaviers room.   “I’d go and get coffee from the kitchen, but…” Youssef said, turning pleading eyes towards Zara, “Idle might be in there.”

            Smiling, Zara told him not to risk it, she would go.

            “Come in,” Xavier called when Yasmin knocked on the door. “God, what a dream,” he said when they piled in to his room.  “It was awful. I was dreaming that Idle was threading an enormous long needle with baler twine saying she was going to sew us all together in a tailored story cut in a cloth of continuity.”  He rubbed his eyes and then shook his head, trying to erase the image in his mind.  “What are you two up so early for?”

            Zara’s gone to get the coffee,” Youssef told him, likewise trying to shake off the image of Idle that Xavier had conjured up. “We’re going to have a couple of hours on the game before the cart race ~ or the dust storm, whichever happens first I guess. There are some wierd looking vans and campers and oddballs milling around outside already.”

            Zara pushed the door open with her shoulder, four mugs in her hands.  “You should see the wierdos outside, going to be a great photo opportunity out there later.”

            “Come on then,” said Xavier, “The game will get that awful dream out of my head.  Let’s go!”

            “You’re supposed to be the leader, you start the game,” Yasmin said to Zara. Zara rolled her eyes good naturedly and opened the game. “Let’s ask for some clues first then. I still don’t know why I’m the so called leader when you,” she looked pointedly as Xavier and Youssef, “Know much more about games than I do. Ok here goes:”

            “The riddle “In the quietest place, the loudest secrets are kept” is a clue to help the group find the first missing page of the book “The Lost Pages of Creativity,” which is an integral part of the group quest. The riddle suggests that the missing page is hidden in a quiet place where secrets are kept, meaning that it’s likely to be somewhere in the hidden library underground the Flying Fish Inn where the group is currently situated.”

            “Is there a cellar here do you think?” Zara mused. “Imagine finding a real underground library!” The idea of a grand all encompassing library had first been suggested to Zara many years ago in a series of old books by a channeler, and many a time she had imagined visiting it. The idea of leaving paper records and books for future generations had always appealed to her. She often thought of the old sepia portrait photographs of her ancestors, still intact after a hundred years ~ and yet her own photos taken ten years ago had been lost in a computer hard drive incident. What would the current generation leave for future anthropologists? Piles of plastic unreadable gadgets, she suspected.

            Youssef can ask Idle later,” Xavier said with a cheeky grin. “Maybe she’ll take him down there.” Youssef snorted, and Yasmin said “Hey! Don’t you start snorting too! Right then, Zara, so we find the cellar in the game then and go down and find the library? Then what?”

            “The phrase “quietest place” can refer to a secluded spot or a place with minimal noise, which could be a hint at a specific location within the library. The phrase “loudest secrets” implies that there is something important to be discovered, but it’s hidden in plain sight.”

            Hidden in plain sight reminded Yasmin of the parcel under her mattress, but she thrust it from her mind and focused on the game. She made up her mind to discuss it with everyone later, including the whacky suppositions that Zara had come up with. They couldn’t possibly confront Idle with it, they had absolutely no proof. I mean, you can’t go round saying to people, hey, that’s your abandoned child over there maybe. But they could include Xavier and Youssef in the mystery.

            “The riddle is relevant to the game of quirks because it challenges the group to think creatively and work together to solve the puzzle. This requires them to communicate effectively and use their problem-solving skills to interpret the clues and find the missing page. It’s an opportunity to demonstrate their individual strengths and also learn from each other in the process.”

            “Work together, communicate effectively” Yasmin repeated, as if to underline her resolution to discuss the parcel and Sister Finli a.k.a. Liana with the boys and Zara later. “A problem shared is a problem hopelessly convoluted, probably.”

            The others looked up and said “What?” in unison, and Yasmin snorted nervously and said “Never mind, tell you later.”

            #6661

            In reply to: Orbs of Madjourneys

            The black BMW pulled up outside the Flying Fish Inn.  Sister Finli pulled a baseball cap low over her big sunglasses before she got out of the car. Yasmin was still in the bar with her friends and Finli hoped to check in and retreat to her room before they got back to the inn.

            She rang the bell on the reception desk several times before an elderly lady in a red cardigan appeared.

            “Ah yes, Liana Parker,” Mater said, checking the register.    Liana managed to get a look at the register and noted that Yasmin was in room 2. “Room 4. Did you have a good trip down? Smart car you’ve got there,”   Mater glanced over Liana’s shoulder, “Don’t see many like that in these parts.”

            “Yes, yes,” Finli snapped impatiently (henceforth referred to to as Liana). She didn’t have time for small talk. The others might arrive back at any time. As long as she kept out of Yasmin’s way, she knew nobody would recognize her ~ after all she had been abandoned at birth. Even if Yasmin did find her out, she only knew her as a nun at the orphanage and Liana would just have to make up some excuse about why a nun was on holiday in the outback in a BMW.  She’d cross that bridge when she came to it.

            Mater looked over her glasses at the new guest. “I’ll show you to your room.”  Either she was rude or tired, but Mater gave her the benefit of the doubt.  “I expect you’re tired.”

            Liana softened and smiled at the old lady, remembering that she’d have to speak to everyone in due course in order to find anything out, and it wouldn’t do to start off on the wrong foot.

            “I’m writing a book,” Liana explained as she followed Mater down the hall. “Hoping a bit of peace and quiet here will help, and my book is set in the outback in a place a bit like this.”

            “How lovely dear, well if there’s anything we can help you with, please don’t hesitate to ask.  Old Bert’s a mine of information,”   Mater suppressed a chuckle, “Well as long as you don’t mention mines.  Here we are,” Mater opened the door to room 4 and handed the key to Liana.  “Just ask if there’s anything you need.”

            Liana put her bags down and then listened at the door to Mater’s retreating steps.  Inching the door open, she looked up and down the hallway, but there was nobody about.  Quickly she went to room 2 and tried the door, hoping it was open and she didn’t have to resort to other means. It was open.  What a stroke of luck! Liana was encouraged. Within moments Liana found the parcel, unopened.  Carefully opening the door,  she looked around to make sure nobody was around, leaving the room with the parcel under her arm and closing the  door quietly, she hastened back to room 4.   She nearly jumped out of her skin when a voice piped up behind her.

            “What’s that parcel and where are you going with it?” Prune asked.

            “None of your business you….”  Liana was just about to say nosy brat, and then remebered that she would catch more flies with honey than vinegar. It was going to be hard for her to remember that, but she must try!  She smiled at the teenager and said, “A dreamtime gift for my gran, got it in Alice. Is there a post office in town?”

            Prune narrowed her eyes. There was something fishy about this and it didn’t take her more than a second to reach the conclusion that she wanted to see what was in the parcel.  But how?

            “Yes,” she replied, quick as a flash grabbing the parcel from Liana. “I’ll post it for you!” she called over her shoulder as she raced off down the hall and disappeared.

            “FUCK!” Liana muttered under her breath, running after her, but she was nowhere to be seen. Thankfully nobody else was about in the reception area to question why she was running around like a madwoman.  Fuck! she muttered again, going back to her room and closing the door. Now what? What a disaster after such an encouraging start!

            Prune collided with Idle on the steps of the verandah, nearly knocking her off her feet. Idle grabbed Prune to steady herself.  Her grip on the girls arm tightened when she saw the suspicious look on face.   Always up to no good, that one. “What have you got there? Where did you get that? Give me that parcel!”

            Idle grabbed the parcel and Prune fled. Idle, holding onto the verandah railing, watched Prune running off between the eucalyptus trees.  She’s always trying to  make a drama out of everything, Idle thought with a sigh. Hardly any wonder I suppose, it must be boring here for a teenager with nothing much going on.

            She heard a loud snorting laugh, and turned to see the four guests returning from the bar in town, laughing and joking.  She put the parcel down on the hall table and waved hello, asking if they’d had a good time.  “I bet you’re ready for a bite to eat, I’ll go and see what Mater’s got on the menu.” and off she went to the kitchen, leaving the parcel on the table.

            The four friends agreed to meet back on the verandah for drinks before dinner after freshening up.   Yasmin kept glancing back at the BMW.  “That woman must be staying here!” she snorted.  Zara grabbed her elbow and pulled her along. “Then we’ll find out who she is later, come on.”

            Youssef followed Idle into the kitchen to ask for some snacks before dinner (much to Idle’s delight), leaving Xavier on the verandah.  He looked as if he was admiring the view, such as it was, but he was preoccupied thinking about work again. Enough! he reminded himself to relax and enjoy the holiday. He saw the parcel on the table and picked it up, absentmindedly thinking the black notebook he ordered had arrived in the post, and took it back to his room. He tossed it on the bed and went to freshen up for dinner.

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