#historical metallurgy

[balladedutempsjadis]

I found this fascinating article about Ananda Coomaraswamy, the great art historian (1877-1947) who made it his life’s mission to put Indian art on the world’s map of artistic traditions. But there’s also a lot of interesting information about metallurgy during the Chola period as well. It pairs well with the Vidya Deheja book I’m reading. (One of the things Dehejia mentions is that there are no copper deposits in Tamil Nadu that could supply the massive amount of bronze used by the Chola statues and inscriptions so historians are trying to figure out where they got the copper from. Bihar? Rajasthan? Southeast Asia? The interconnected trade networks of this period are also fascibating; she quotes 12th century letters from a Jewish trader in Aden with a Jewish bronze factory owner in Mangalore. The world has always been much more interconnected than we’ve imagined. Sri Lanka is also a tantalizing source of copper - a reason the Cholas wanted to conquer it?)

https://www.sahapedia.org/the-nataraja-bronze-and-coomaraswamys-legacy

#historical metallurgy #ananda coomaraswamy #Indian art #chola chola #ponniyin selvan

[postcard-from-the-past]

Pavilion of Metallurgy on the 1900 World Exhibition in Paris

French vintage postcard, mailed in 1900 to Clermont-Ferrand

#vintage #tarjeta #briefkaart #postcard #photography #the 1900 world exhibition #clermont-ferrand #postal #world #carte postale #1900 #sepia #pavilion of metallurgy #ephemera #exhibition #historic #paris #french #ansichtskarte #postkarte #clermont #pavilion #ferrand #postkaart #metallurgy #mailed #photo

[sunriseverse]

genuinely the more i deal with sunrise the more i feel in my heart that one scanlation team’s note that’s like “we’re sorry for the delay but our translator is reading up on shinto texts to better translate the upcoming chapter”. every time i try and put pen to paper i realise i need to know more and as a consequence nothing gets written.

#finished my reading on gender and sexuality #but now i’m doing reading on wuxia genre development #and then i have reading on kazakh history and culture to do #and THEN. i have to do research and reading on historical martial arts and sword usage #and then i need to research yuan and ming metallurgy #and then i need to research middle chinese linguistics and seal script #at this point it is less me creating this verse #and more this verse creating ME #c.txt

[cryptotheism]

Is there any historical occultist not useful to fascists tho?

Most occultists are not terribly useful to fascism tbh. Blavatsky was a particular sort of perennialist cultural chauvinist that lends itself well to fascist occult mythmaking.

By comparison, fascists don't really give a shit about Paracelsus. What are they gonna do with occult humorist toxicology? Fascists don't give a shit about Jabir ibn-hayyan, 9th century theoretical metallurgy is not the sort of thing they care about.

Fascism wants pure emotion. It wants what feels true. The milieu of 19th century spiritualism that Blavatsky existed in was a breeding ground for the type of charismatic grifters who sold people on what felt true.

But many, many occultists throughout history were driven by grounded, rational, thinking. They were just weirdos from the 14th century who were wrong about how atoms worked.

[erijt]

Long Swords Blade design brought over from the Old World by the first Gnome settlers, The shapes have changed very little over the years. These swords have historically been the bane of many during the Gnome migrations westward into the Great Lakes. Bone Blades A larger snow blade with greater curvature, at this point it has lost the original utility of the snow knives they were based upon. Bone Blades are traditionally made from titanic skeletal remains of tundra herbivores, Blade Carvers make great use of the bones unique properties. War Cleavers A blade design that hails from the southern continent, the introduction of metallurgy to the Gulf Tribes have produced many such weapons of war that have been used to great effect in eradicating Selkie settlements along the great river.

#ZikfthVuzded

[elbiotipo]

What would be the main differences between a template forest and a tropical jungle for fantasy? I guess that things like iron armor pieces would never become a thing since historically they weren't popular in other hot climates, winters without snow might be less feared but summers with big floods might be more worrisome? I guess that cuisine and farming would also be massively different although I don't know exactly how.

Out of the top of my head:

Equatorial climates are notoriously stable, since it's always the same day lenght there are no seasons, especially if you live near the ocean which estabilizes the temperature. You will get dry and wet seasons (and sometimes even hurricane seasons) depending on particular geographic conditions

Tropical/subtropical climates often have harsher seasons the farther away from the ocean they are, but never snow (that's the difference actually; temperate climates can get snow, subtropical can get frost but not snow, tropical neither). So yes, in general in a tropical or subtropical the main difference between seasons is rain, and perhaps frost which does play a role in some plants like citrics. Rainforests, of course, get it all year, subtropical forests have dry and rainy seasons. You can see a mixture of both: in my home (Northern Argentina) we do get marked winters with ocassional frost, but the main fact is that they're dry compared to summer.

ANYWAYS. Cultural stuff! Yes, one of the main differences you will find is clothing. It's difficult to make generalizations, but overall, tropical cultures just wear less, if there is armor at all. Don't get mistaken and say that it's because they don't have metallurgy, though, it's just that metal armor is indeed heavy, hot, and not much use if the opponet isn't wearing anything either. At most, you would see padded cloth armor (cotton mostly) or hide/leather at most. If you look at soldiers from, for example, Mesoamerica or Southeast Asia, you will find little armor.

Similarily, while you can go wild with noble clothing and colors, and the preferred materials are indeed cotton or silk, you will find very simple clothes among the general population. To give you an idea, here's a sample of Aztec clothes (including armor!)

Note how simple and lightweight they are, even for rulers. They are colorful too (the artist, Daniel Parada, has more pictures like this for other cultures based on historical records) but although tropical enviroments might seem to have greater access to dyes, medieval european did also have dyes, often not as vibrant as carmine though.

Farming, of course, affects cuisine. I think that instead of thinking about a "pan-tropical" farming, we could analyze this by centers of origin of crops:

From Southeast Asia we got soy, several types of beans (or Fabaceae if you wanna get technical), all citrics, mango, banana, pear, cherry,, but this pales in comparison to rice, of course. Rice defines the tropical and subtropical diet of Asia, being what wheat is to the Mediterranean. Rice cultivation is particular in that is labor extensive, much more productive by area compared to other crops (so smaller plots) and requires extensive irrigation, resulting in complex managed enviroments.

From tropical America we got manioc, squashes (all sorts of curcubita actually), beans, peppers, pineapples, papaya, so much more, but it's especifically from Mesoamerica we got corn, and from the Andes we got potatoes. Potatoes are key in cold climates. Meanwhile, the corn-beans-squash trio, that is known in North America as "three sisters" and in Latin America as "milpa" is spread all over the continent. These three kinds of plants are very adaptable to tropical and subtropical conditions, and combined are very productive.

I will admit that my knowledge about tropical Africa is less than ideal. There are native species of rice that can be found in Western Africa, Ethiopia has traditionally grown barley and sorghum (and is the home of coffee), and millet, like corn for the Americas, seem to be widespread.

As for spices, tropical areas do seem to be blessed with spices, this is true. I recommend this guy to tell you about it. Hell, I recommend his channel in general.

What IS a common theme, regardless, is that jungles are NOT pristine enviroments or wild enviroments untouched by human activity. Jungles have been managed, in overt ways (like for example, rice cultivation) or more subtle ways (planting domesticated species inside the forest) for thousands of years. This is also done by controlled burns, conscious planting, or even accidental things, like, for example, peoples settling in a place and bringing domesticated plants to that place that then grow semi-wildly.

THIS IS SO FRUSTRATING TO TALK ABOUT BECAUSE EVEN IF I STUDY THIS EXACT THING, I HAVE NO REAL DEFINITION OF IT YOU CAN SEARCH. You can find about this phenomenon of "humans managing and changing forest enviroments" by lots of terms, like agroforestry, silviculture, and so many more. The term I use is "landscape management" (no, not "landscaping") where a "landscape" is a term for an enviroment were both humans and natural factors build it (like I said, there is no thing as "pristine nature" ALL natural enviroments have been managed and modified by humans, and you can find evidence of that in tropical America, Asia, and Africa).

In fact, the reason why those enviroments seem "natural" and unchanged to Western views is precisely, because tropical cultures often use wood and adobe to build structures (if they have them at all), which don'r preserve well at all. But also, jungles are fast growing and often eat everything, remaining, interestingly, these subtle domestication and managment efforts in what once were thriving settlements.

Which doesn't mean you haven't tropical cultures to study. THERE ARE PLENTY. You got, like I said, the whole of tropical America, tropical Africa, and tropical Asia and Oceania. It is getting very difficult to me to generalize, and yet, one can see some similarities.

Since this post is general enough, I encourage you to ask more about what you want. What would you like me to focus on?

oh, and you can throw me a tip, if you want! Sorry for selling out, but I'm living under an insane libertarian president right now, so every bit helps!

#worldbuilding #sorry this is such a rant #but I hope it might be useful for you to get questions I can answer better!

[blueiskewl]

First Ever Human Depiction of Lost Tartessos Civilization Uncovered in Spain

Archaeologists representing Spain’s National Research Council (CSIS) excavating at the site of Casas del Turunuelo have uncovered the first human representations of the ancient Tartessos people.

The incredible results of an excavation that shed light on a mysterious and ancient civilization that flourished in southern Spain several centuries before Christ have been presented by Spain’s National Research Council.

The Tartessians, who are thought to have lived in southern Iberia (modern-day Andalusia and Extremadura), are regarded as one of the earliest Western European civilizations, and possibly the first to thrive in the Iberian Peninsula.

In the southwest of Spain’s Iberian Peninsula, the Tartessos culture first appeared in the Late Bronze Age. The culture is distinguished by a blend of local Paleo-Hispanic and Phoenician traits, as well as the use of a now-extinct language known as Tartessian. The Tartessos people were skilled in metallurgy and metal working, creating ornate objects and decorative items.

Archaeologists from Spain’s National Research Council (CSIS) on Tuesday presented the amazing results of excavation at the Casas de Turuuelo dig in Badajoz, in southwest Spain, as well as the results of the excavation.

Five busts, damaged but two of which maintain a great degree of detail, are the first human and facial representations of the Tartessian people that the modern world has ever seen.

The ornate depiction of the stone busts, as well the inclusion of jewellery (hoop earrings) and their particular hairstyles, resemble ancient sculptures from the Middle East and Asia. 

These “extraordinary findings” represent a “profound paradigm shift” in the interpretation of Tartessian culture, excavation leaders Celestino Pérez and Esther Rodríguez said during the press conference.

Given the scarcity of Tartessian archaeological finds thus far, this ancient society is shrouded in mystery.

Tartessos’ port was located at the mouth of the Guadalquivir river in what is now Cádiz, according to historical records. In the fourth century BC, Greek historian Ephorus described it as a prosperous civilization centered on the production and trade of tin, gold, and other metals.

What is unknown is where the Tartessians came from, whether they were an indigenous tribe with Eastern influences or a Phoenician colony that settled beyond the Pillars of Hercules (the Strait of Gibraltar).

The team from Mérida’s Institute of Archaeology believes two of the busts discovered in what is thought to be a shrine or pantheon represent Tartessian goddesses, despite the fact that Tartessian religion was previously thought to be aniconic (opposed to the use of idols or images).

The stone busts’ facial depiction, as well as the inclusion of jewelry (hoop earrings) and their specific hairstyles, resemble ancient sculptures from the Middle East and Asia.

Archaeologists believe that the two goddesses, along with three other sculptures that were significantly more damaged, were part of a stone mural depicting four deities watching over a Tartessian warrior, as one of the defaced busts has a helmet.

The ornate effigies, which are thought to be around 2,500 years old, are also significant for art historians, as Ancient Greece and Etruria (an ancient civilization in modern-day central Italy) was previously recognized as the epicenters of sculpting during this time period.

By Leman Altuntaş.

#First Ever Human Depiction of Lost Tartessos Civilization Uncovered in Spain #Casas del Turuñuelo #ancient artifacts #archeology #archeolgst #history #history news #ancient history #ancient culture #ancient civilizations

[power-chords]

Often I feel very angry. It is hard to explain this even to my progressive Jewish parents – my Ashkenazi father, and my convert mother who frankly is more observant than I am – sometimes easier with fellow third generation millennials, depending on their milieu. My goyische husband, believe it or not, grasps it quite well because he grew up in Scarsdale. For the 18 years that we lived on East 70th our mezuzah was on the wrong side of the door. We never kept kosher. And yet I went to Hebrew school at Park Avenue Synagogue followed by Or Zarua which are both conservative congregations, a step up from reform and a step down from orthodox. We observed Shabbos, the high holidays; for a while I had a basic comprehension of the loshn-koydesh.

After I was bat mitzvahed I had no desire to see the inside of a temple again. This remained the case for many many years. You know what I learned about besides Torah? (Torah study, the ritual of Saturday morning services, was actually the good part.) Israel. At length. A country I felt no connection to whatsoever, that I had no desire to ever visit, that alienated me from my own Jewish identity as a diaspora New Yorker growing up in (what was, then, much more so!) a diverse neighborhood with kids from every ethnic and religious background imaginable.

You know what I learned NOTHING about? Yiddishkeyt. German expressionist cinema. Postwar American Jewish literature. Philosophy and psychoanalysis and dialectics and dialogics. Art, literature, theater, folklore. You would think that institutions theoretically devoted to the preservation of Jewish life in America would take a greater restorative interest in what the Nazis attempted to wipe from the historical record. You would be wrong.

The irony doesn’t end there. According to Dad my grandfather would not speak a word of German in the house – understandable after they've gassed your entire family to death – and he was resentful, for a little while, that on account of this he did not grow up bilingual. Why Martin refrained from speaking Yiddish around his American children had nothing to do with a rejection of Jewishness per se and everything to do with the guarantying of a more prosperous future. Metallurgy and manual labor sentenced him to a hard life and an early death. Despite chronic exhaustion and physical pain, he would bring my young father to public lectures at Yale on anything and everything related to the space program. He supported and cultivated his two sons’ every personal and intellectual interest. He ferried my grandmother to and from her performances along the Borscht Belt circuit, which back then was still a thriving scene. He was a state-raised orphan who lost everything and nevertheless managed to give everything. When she grew too old and infirm to do so herself any longer, he even cared for the cranky old bitch of an aunt who turned him away when he first washed up alone as a teenager on a totally foreign shore. I have tears in my eyes just typing this.

It is my parents and grandparents whose memory I hold sacred, the culture they swallowed or sacrificed in the hope of a new beginning – not for themselves, but for their loved ones. That a certain continuity could be transmitted and traced despite all efforts to either disguise or remake it, that there is an inextinguishable spark of recognition in language and expression and sensibility, is miraculous. It defies the nation state. And it will outlive the nation state.

[thepastisalreadywritten]

Oldest Bronze Doors (115 AD) still in use in Pantheon, Rome, Italy.

These doors cast in bronze for Emperor Hadrian (76-138 AD) rebuilding, dated about 115 AD.

These large bronze doors serve as an entrance to the cella, measuring 4.45m wide by 7.53m high, yet so well balanced they can be pushed or pulled open easily by one person.

Each half of the double door weighs 8.5 tonnes. It rotates on pins set into floor and architrave above.

—

The bronze doors in the Pantheon of Rome are indeed a remarkable testament to the engineering and craftsmanship of the Roman Empire during the reign of Emperor Hadrian.

Here are some fascinating details about these historic doors:

1. Age and Origin:

The bronze doors in the Pantheon are estimated to date back to around 115 AD, making them over 1,900 years old.

They were commissioned and cast during the reign of Emperor Hadrian, who is renowned for his architectural contributions to Rome.

2. Purpose:

These doors serve as the entrance to the cella, the inner sanctuary or main chamber of the Pantheon.

The Pantheon itself is a well-preserved ancient Roman temple dedicated to all the gods (hence the name "Pantheon").

3. Size and Dimensions:

The bronze doors are sizable, measuring approximately 4.45 meters (14.6 feet) in width and 7.53 meters (24.7 feet) in height.

What is particularly impressive is that despite their substantial size, they are perfectly balanced and can be effortlessly opened or closed by a single person.

4. Weight:

Each half of the double door weighs a staggering 8.5 tonnes, adding up to a total weight of 17 tonnes for the entire set.

This speaks to the advanced metallurgy and engineering skills of the Romans in handling and crafting large bronze structures.

5. Rotating Mechanism:

The doors are mounted on pins that are set into the floor and the architrave (the lintel or horizontal beam) above the entrance.

This ingenious design allows for the doors to pivot smoothly, enabling them to be moved with relative ease despite their immense weight.

6. Historical Significance:

The Pantheon, with its iconic dome and these bronze doors, is an enduring symbol of Roman architectural innovation and grandeur.

The fact that these doors are still in use after nearly two millennia is a testament to the durability and quality of their construction.

The Pantheon's bronze doors are not only a functional part of this historic structure but also a tangible link to the past, offering a glimpse into the architectural and engineering achievements of ancient Rome.

They continue to awe and inspire visitors from around the world with their sheer size and remarkable craftsmanship.

Credit: Statistics (X)

#The Pantheon #bronze doors #Emperor Hadrian #Roman Empire #ancient Roman temple #temple #Roman architectural innovation #Roman engineering skills #Ancient Rome #doors #ancient civilizations #Rome #Italy

[mirra-kan]

Hi Mirra!

Have you written any headcanon, metas, discussions, or fics about your concept of the "Faithful Haradrim"? If so, could you please tell me where to find them? If you haven't yet, would you mind sharing some info of your headcanons (anything at all) about their history and culture?

I'm a big fan of your Harad artwork and concepts (including the Blue Wizards), and it's all clearly founded on a rich, complex world you've created for them in your head. I would definitely love to learn more! :) I do also plan on including more about the Haradrim culture and history in my upcoming fanfics, so I would love to hear an expert's ideas on them.

Thank you for sharing your work with us!

@sotwk Was very happy to discover your message in my ask box!

Thank you for your interest and willingness to include more Haradrim content into your writing, but I'm afraid you might find my views rather... boring 😆

I also must apologise in advance if any of my phrases may not seem polite enough or turn out to be grammatically incorrect - English is not my first language.

Disclaimer! What is written below represents my personal view! It is in no way intended to hurt or discredit anyone’s head canons, views and ideas!

My Chinese calligraphy teacher once told me: "Do you want to assume or to learn? Decide on the approach before you make theories about anything."

And I follow the strategy of "to learn" before I "assume". So, first and foremost, I'm still in search of bits of information about the peoples who inhabited Harad and Rhun (South and East) of Middle-earth.

My goal is not so much to create head cannons as to draw the audience's attention to the canon and the Professor's own vision. Accordingly, in working through his letters, essays, and volumes of the History of Middle-earth, I am trying to draw parallels that someone as educated as Professor Tolkien might have drawn.

I also categorically disagree with the images created in the movies, where the conventional evil is more caricatured than frightening, and the motives and history of the conflict are not shown at all (Faramir’s saying about Haradrim’s fate is at least included, which is great, even if it wasn’t his in books). When my best friend dragged me into the Silmarillion story couple of years ago, I was amazed at how distorted the perception of these regions was in adaptations.

So, thinking about the existence and struggles of Faithful Haradrim, I rely on the history of the region and possible historical patterns. Such a vast region simply cannot have a common culture. It is the idea that can unite them. But, as in our reality, cultural features, symbolism and colours may differ. For example, we know that those who came with Sauron's army, performed under red flags with snakes. Does that mean that the entire vast region walked exclusively in the same colours? It seems unlikely to me.

As for the Blue Wizards, blue in general is a colour very 'inherent' to many cultures in the Global South. I suppose that's why the Professor dressed Alatar and Pallando in those colours. And accordingly, in my opinion, Faithful Haradrim could use these colours in their robes and on their banners, but not necessarily. It is not the colour that reflects the inner essence of a person.

Of course, when thinking about this or that image, I think about where exactly these people live, what the level of metallurgy development is present in different Ages, whether there is a sea or mountains nearby - all this affects how their armour\architecture\symbolism could have developed. In general, I draw parallels with real anthropology and the history of the development of civilisations. Books about the regional patterns, military and weapon history etc are of big help here too.

Sometimes, of course, I make things up. For example, when I first read the lines about the Blue Wizards not returning to Valinor, I didn't take it in a negative light. After all, they could have stayed in Middle-earth willingly, having become attached and imbued with the problems of the region, of the people. After all, Alatar and Curumo were the only ones who were not afraid to volunteer to fight Sauron.

I also like the later version, in which the Blue Wizards arrive in the Second Age. It makes more "sense" given the nightmare that the Númenorians had wrought in the region. But even among them, I'm sure there were some people who sympathised and helped the local population. I don't believe in black and white in principle. But I do believe in post-truth.

So, in essence, I'm a boring canonist who treats the author's writings and views with great respect. And the myth of the Haradrim and Easterlings being bad guys by all accounts is almost as well-established as the supposed lack of religion, holy Dunedain and cute glowing elves. Which is, in my opinion, in no way consistent with Tolkien's own philosophy and stance.

Perhaps what I came up with from scratch was a sign, a Faithful Haradrim symbol, that those could use to identify each other. People need symbols, faith and ideas. Especially in such trying times. That's the way we are.

Oh, I'm afraid if I go on, it'll be a whole essay. So I think I'll stop here. Thanks again for your question and your interest! I'm sorry if I disappointed you, haha.  Good luck with your writing - I'm so happy there're people out there, who're genuinely interested in the region! ❤

P.S. If everything goes well, I plan to release a zine about Harad at the end of the year. With quotes and the obligatory notes of personal theories not to confuse the reader.

#tolkien #lord of the rings #lotr #silmarillion #middle earth #haradrim #artmirka #harad #easterlings #rhun

[bonefall]

Ooooooooh if Wind & Shadow have access to linseed oil, can either of them make oilskins at all? I guess it could be a risky process with it being so flammable, but I feel like for the exposed-to-the-elements Clan and the lives-in-a-swamp Clan it could be a fuckin game changer!!

(...I realize this is a fuckin niche question so feel free to ignore but Warrior Cats and historical materials make brain go brrrrrrr)

Sadly, they're not that advanced yet! They can make waxed linen, but a real oilskin has to be boiled with metal salts (lead, from what I know). BB cats have clay, but their understanding of metallurgy is basic.

They only have one word for metal-- Kichung. It evolved from a general Lakemew word for human objects. They don't know the difference between iron, steel, copper, etc. Copperwing of RiverClan is named for a reddish-orange color, lighter than russet but paler than ginger.

They do make some pretty rudimentary waterproofed canvases though, using wax. They don't make clothing, but they can roll out 'blankets' to help in the rain.

#They're very practical about clothing. Bags and belts and such #No shirts or shoes #Clan culture

[aibidil]

On “Civilization” from The Dawn of Everything

One problem is that we’ve come to assume that ‘civilization’ refers, in origin, simply to the habit of living in cities. Cities, in turn, were thought to imply states. But as we’ve seen, that is not the case historically, or even etymologically. The word ‘civilization’ derives from Latin civilis, which actually refers to those qualities of political wisdom and mutual aid that permit societies to organize themselves through voluntary coalition. In other words, it originally meant the type of qualities exhibited by Andean ayllu associations or Basque villages, rather than Inca courtiers or Shang dynasts. If mutual aid, social co-operation, civic activism, hospitality or simply caring for others are the kind of things that really go to make civilizations, then this true history of civilization is only just starting to be written.

As we’ve been showing throughout this book, in all parts of the world small communities formed civilizations in that true sense of extended moral communities. Without permanent kings, bureaucrats or standing armies they fostered the growth of mathematical and calendrical knowledge. In some regions they pioneered metallurgy, the cultivation of olives, vines and date palms, or the invention of leavened bread and wheat beer; in others they domesticated maize and learned to extract poisons, medicines and mind-altering substances from plants. Civilizations, in this true sense, developed the major textile technologies applied to fabrics and basketry, the potter’s wheel, stone industries and beadwork, the sail and maritime navigation, and so on.

A moment’s reflection shows that women, their work, their concerns and innovations are at the core of this more accurate understanding of civilization. As we saw in earlier chapters, tracing the place of women in societies without writing often means using clues left, quite literally, in the fabric of material culture, such as painted ceramics that mimic both textile designs and female bodies in their forms and elaborate decorative structures. To take just two examples, it’s hard to believe that the kind of complex mathematical knowledge displayed in early Mesopotamian cuneiform documents or in the layout of Peru’s Chavín temples sprang fully formed from the mind of a male scribe or sculptor, like Athena from the head of Zeus. Far more likely, these represent knowledge accumulated in earlier times through concrete practices such as the solid geometry and applied calculus of weaving or beadwork. What until now has passed for ‘civilization’ might in fact be nothing more than a gendered appropriation – by men, etching their claims in stone – of some earlier system of knowledge that had women at its centre.

—The Dawn of Everything, Graeber and Wengrow

#civilization #history #anthropology #archaeology #political philosophy #human nature #sharing because I love this so much and need everyone to read it 🥲 #finally some good fucking food #these guys spend the entire first chapter absolutely tearing apart all the enlightenment thinkers theories about social evolution #the dawn of everything

[postcard-from-the-past]

Pavilion of the Metallurgy and Pavilion of the Women on the 1900 Paris World Exhibition

French vintage postcard

#vintage #tarjeta #briefkaart #postcard #photography #postal #paris world exhibition #world #carte postale #1900 #sepia #ephemera #exhibition #historic #paris #women #french #ansichtskarte #postkarte #pavilion #postkaart #metallurgy #photo

[landofspaceandrainbows]

Thanks to @flashfictionfridayofficial for the prompt!

~

Chapter Three The First Trade Route:

... If you look at the figure to the left of the text you will see the map of one of the first primary interstellar trade routes. (fig. 1) Sometimes referred to as "The Syracuse Route" due to historical allusion, it passes through the Alpha Centauri system at it's center. It's major use has dried up due to changes in metallurgy, but it still remains a site for historical tourism, and a route for trade in various fruits and roast coffee beans, both used in the production of sorbets. The recent changes in cryogenics have been a blessing for long-haul storage!

#flashfictionfridayofficial #flash fiction #flash fic #my writing

[cryptotheism]

"the history of alchemy" seems like such a broad span of time. i don't know when an expert would say the first thing that was "alchemy" happened, but i would guess many thousands, if not tens of thousands of years ago. and it continues today. what subsection of this time are you narrowing down on today? or are you studying broad strokes, like overarching themes?

I'm probably gonna start with ancient egyptian metallurgy, as thats what most historical alchemists point to as their origin. I'm probably gonna end with Paracelsus, as after that you get Robert Boyle and the cropuscular theory of chemistry, which imo transitioned us out of Alchemy and into Protochemistry.

I also wanna spend some time talking about Jung and the Rosicrucians and the spiritualization of alchemy.

[awitchsheartif]

Yousra Courtney's and Simeon Harrow's first meeting

(F) Court short story

Court sat on the wobbly wooden chair in the Professor’s office. Wringing her hands together and playing with the golden rings. On her lap sat her papers and portfolio, bound in dark leather stamped with her family crest.

He was late. She was warned about that, but this was ridiculous. Her feet tapped in time with an unheard song and her eyes scanned the shelves.

A Comprehensive Encyclopaedia of Healing Plants. A Historic Map of the Stars. An Advanced Guide to Metallurgy. In between them was nestled a thick white envelope, as if hastily stowed away. It’d been almost ten minutes already, what were the chances he’d come back now?

She jumped up before she’d had a chance to fully think it threw, sending a quick, cautious glance towards the crack in the hard wood door.

The shelves were mostly dusty, making it clear which books Professor Harrow had recently read. Court scrunched up her nose and exhaled as she tried not to disturb too much of it.

The envelope had the remains of a deep purple wax seal, the stamped pattern too broken to be deciphered. The smell of dried flowers, like damp rosemary with a floral edge, drifted out as Court pulled out the letter and peered at the messy calligraphy.

Dearest Simeon,

It’s been so long since our meeting I fear my bed has gone cold.

There is so much I have left to show you, and so much you promised to show me. Joice has something you may find of interest, and Pansy has extra.

The winter comes-

“Interesting reading?” The interrupting voice was soft and low, yet bemused. Court’s head shot up and she looked back wide eyed.

“You were late.” She considered, for a moment, adding in a quick ‘sorry’, but that would be akin to admitting guilt.

“Yes.” The professor shrugged. He strolled forwards, one hand in his pocket and the other reaching out to pluck the paper from her hand. He glanced down at it as if he’d forgotten what was written and let out a soft laugh.

“Never take what anyone says, or writes, at face value.” He continued around the room and took a seat. Court looked between him and the door, almost certain she’d blown her chances. “Let’s begin, Miss Courtney. Why do you want this position?”

The smell of dried flowers was still heavy in the air as Court slipped back into the chair.

“I read your letter.” The statement was posed as a question.

“I doubt that’s why you want the position.”

“No, you’re an expert in the field. This would be an excellent opportunity for the both of us to develop our-”

“Cut the bullshit Miss Courtney. Why are you here.”

“I like magic. No, I love magic.” She shook her head. “Real magic. Not the shallow imitations we do with herbs and alchemy. The wild type that everyone else is scared of, the sort that only witch-blessed trinkets can achieve.”

“Witch-blessed trinkets, or witches.” Professor Harrow said. Court shrugged in feigned nonchalance.

“You’ve met a witch?”

“One or two. So have most people, probably, most don’t go around letting everyone know what they are. I’ve also handled one or two witch-blessed items. Family heirlooms, usually, as I’m sure you’re aware.” The professor rested his head on top of his hands as he levelled his deep brown eyes at hers.

“My family has one or two.” She licked her lips; the question went unspoken. If your noble family has access to magic, then why do you need me? “But I have no interest in just holding an enchanted stone, I want to understand magic. I want to harness it properly.”

“Would they give you an heirloom if they asked?” Court bit the inside of her lip, eye’s narrowing. She’d never been good at hiding her emotions, a flaw she’d been reminded of often.

“No.” She leant forward. “But, I could get you one, if I was to be in a position where it would benefit me.”

The statement hung in the air, Professor Harrow leant back in his chair and smiled, holding out his hands expectantly and nodding towards Court’s leather-bound portfolio.

“Consider it your first assignment.”

#AWH: Court #AWH: Harrow #short