#european setting

[bookhouseboy1980-blog]

Two Autumns in Paris (watchalong)

Check out my channel for more: https://www.youtube.com/@borednow5838/videos

[vintagehomecollection]

The Garden Book, 1984

[canisalbus]

While they're certainly no dogs, I saw this art and knew instantly who it looked like:

.

[yardsards]

laios when his party needed more members:

[alpaca-clouds]

How to cook in a medieval setting

Alright. As some of the people, who follow me for a longer while know... I do have opinions about cooking in historical settings. For everyone else a bit of backstory: When I was still LARPing, I would usually come to LARP as a camp cook, making somewhat historically accurate food and selling it for ingame coin. As such I know a bit about how to cook with a historical set up. And given I am getting so much into DnD and DnD stories right now, let me share a bit for those who might be interested (for example for stories and such).

🍲Cooking at Home

First things first: For the longest time in history most people did not have actual kitchens. Because actual kitchens were rather rare. Most people cooked their food over their one fireplace at home, which looked something like what you see above. There was something made of metal hanging over the fireplace. At times this was on hinges and movable, at times it was set in place. You could hang pots and kettles over it. When it came to pans, people either had a mount they would put over the fire or some kind of grid they could easily put into place there with some sourts of mounts (like the two metal thingies you can see above).

If you have a modern kitchen, you are obviously used to cook on several cooktops (for most people it is probably four of them), while in this historical you obviously only had one fire. Of course, as you can also see in the picture above, you could often put two smaller pots over the flames or put in a pan onto the fire additionally. But yes, the way we cook in modern times is very different.

Because of this a lot of people often ate stews and soups of sort. You could make those in just one pot - and often could eat from the same stew for days. In a lot of taverns the people had an "everything stew" going, which worked on the idea that everyone just brought their food leftovers, which were all put into one pot everyone would eat from.

Now, some alert readers might have also noticed something: What about bread and pastries? If you only have one fireplace and no oven, how did people make bread?

Well, there were usually three different methods for this. The most common one was communal ovens. Often people had one communal oven in a neighborhood. Especially in a village there might just be a communal oven everyone would just put their bread in to bake. (Though often this oven would only be fired up once or twice a week.)

The second version to deal with this some people used was a sort of what we today call a dutch oven. A pot made either of metal or clay with a lit you would put into the hot coals and then put bread or pastries into that, baking it like that.

There was also a version where people just baked bread in pans on the fire, rotating the bread during the baking process. At least some written accounts we have seem to imply. (Never tried this method, though. I have no idea how this might work. My camp bread was mostly done in dutch ovens or as stickbread.)

Keep in mind that the fireplace at home was very important for the people in historical times. Because it was their one source of warmth in the house.

🏕️ Cooking at Camp

Technically speaking cooking at camp is not that different - with the exception of course that you have to drag all your supplies along. And while in Baldur's Gate 3 and most other videogames you can carry around several sets of full-plate armor and several pounds of ingredients so that dear Gale can whip something up... In real life as an adventurer running around you need to make decisions on what to take along.

If you have read Lord of the Rings, you might remember how many people have criticized Sam for actually dragging all his cooking supplies along and how sad he was for not being able to cook for most of the time, because they were very limited in taking ingredients along.

So, yes, if you are an adventurer who is camping out in the open, you will probably need to do a lot of hunting and gathering to eat during your travels. You can take food for a couple of days along, but not for a lot.

A special challenge is of course, that while you can cook food for several days when you are at homes, you do not want to drag along a prepared stew for several days. So usually you will cook in smaller batches.

A lot of people who were journeying would often just take along one or two pots along.

So, what would you eat as an adventurer travelling around while trying to save the world from some evil forces? Well, it would depend on the time of the year of course. You would probably hunt yourself some food. For example hares, birds or squirrels. Mostly small things you can eat within one or two days. You do not want to drag along half a dead deer. In the warm months you might also forrage for all sorts of greens. You also can cook with many sorts of roots. Of course you can also always look into berries and other fruits you might find.

Things you might bring with you might be salt and some spices. A good thing to bring along would be herbs for tea, too, because I can tell you from experience that water you might have gotten from a river does not always taste very well - and springs with fresh water are often not accessible.

Now, other than what you can access the basic ideas of camping fires and cooking with them has not changed in the last few thousand years. While modern people camping usually have a car nearby and hence will have access to a lot of ingredients. But the general ideas of how to build a fire and put a pot over it... has not really changed.

So, yeah.

Just keep in mind that for the most part in historical settings until fairly recently, there was not much terms of proper kitchens. People cooked over an open fire and hence had to get at times ingenius about it.

[cfserkgk]

I had a thought --- You know how Conan and Haibara are also the "same age" as Anya and the Eden kids in spy x family? So hence here's Conan and Haibara in the Eden uniforms since I can allow myself to fantasise.

I don't know if this has been done before, but I like coai a very lot, they're my childhood. There's just something about their camaraderie and mutual trust that makes me so happy.

[neversetyoufree]

The funniest thing about the Marquis Machina identity reveal is that it recontextualizes the shoes in her current outfit from "quirky Mochijun design choice" to "Francis Varney is a Japanophile."

Ye olde weeabeau.

[preraphaelitepaintings]

Beata Beatrix

Artist: Dante Gabriel Rossetti (British, 1828–1882)

Date: c.1864–1870

Medium: Oil paint on canvas

Collection: TATE Britain

Description

Dante Gabriel Rossetti identified closely with the medieval poet Dante Alighieri. Rosetti saw his own despair at the death of his wife, the artist and poet Elizabeth Siddal, through Dante’s writings about the death of his beloved, Beatrice Portinari. Beata Beatrix pictures Siddal as Portinari in a dreamlike Florentine setting. Siddal’s death is re-imagined as a ‘spiritual transfiguration'. As an omen of death, a bird drops a white poppy between her open hands. In the background, Dante looks across at the figure of Love who holds the flame of life, and a sundial marks the time of her passing.

[windcarvedlyre]

I've been thinking about Komaeda headcanons and I was wondering if you have any that aren't particularly based in canon? Nothing that contradicts canon, just something that can't be proven nor denied. I find those are usually the most interesting headcanons.

For example I think Komaeda as being fluent in a few languages besides Japanese. Very little to support this as being canon but the chance is never 0, lol.

Hi!! Sorry for taking so long to reply :'D

Honestly I'm still blanking on a lot of things, but some of the stuff that comes to mind right now:

I feel like he'd have looked into a lot of religions and other occult things to try to work out what the hell is going on with his luck. There's no way he wouldn't really want to know and being in his shoes would probably affect your relationship with spirituality in interesting ways since it's... a pretty obviously real supernatural phenomenon, and not a mild one either. We already see him being a bit superstitious in Island Mode and I'd love to see more fanworks exploring that.

I feel like his living spaces, on top of being meticulously clean because he's a neat freak, would be designed to be calming for him and be as luckproofed as possible. Nothing really heavy/shatterable in high places, minimal trip hazards, etc etc etc. If/when Hinata starts living with him the latter would learn pretty quickly not to leave stuff lying around on the floor; I could see Komaeda being pissy about that.

A cat would be a better fit for Komaeda than a dog postgame, they'd fit his lifestyle and energy level much better, fight me.

Just because it would be funny, he likes sakuramochi and hates kusamochi. He and Hinata have had long debates about this.

We already talked about the language HC in dms but yeah, I love that too! At minimum he'd be relatively proficient in english, I think.

He'd like chess almost or just as much as he does go because it has the same colour scheme. I think he'd be really good at it and end up regularly having long games with Sonia (who I could see being tutored in it growing up) that noone else in the class can follow. (Edit: Until Hinata wakes up as the ultimate grandmaster post-NWP and wipes the floor with both of them. I think I've read a fic with scenes where he played chess with Komaeda but I can't remember which.)

[anghraine]

Just thinking about Gondor, as usual, and how wild it is that the (supposedly minority!) population of Gondorians who speak Sindarin and/or know Quenya at the end of the Third Age is likely higher than the combined number of all Elves still remaining in Middle-earth who can speak either.

Tolkien's specific statement is that more Men speak Sindarin or know Quenya than Elves do either, but while this group of Men would encompass people like the Northern Dúnedain, Théoden, etc, the letter directly links this to Gondorian usage of Sindarin and Quenya. That does make sense given the extreme population disparities involved; the vast majority of the Men in question would pretty much have to come from Gondor. Certainly, the only place where we actually see widespread, casual, local Sindarin usage among Men is Minas Tirith (though we know the linguistic patterns of MT are also characteristic of Dol Amroth and likely throughout much of Belfalas).

In addition, Tolkien tried to make sense of the limited evolution of Gondorian Sindarin by saying it's an acquired polite language among Númenórean aristocratic elites and scholars. In the actual process of writing LOTR there were various explanations (in one draft Faramir explains that Westron is a Gondorian conlang invented for dealings with other peoples, for instance). But Tolkien's standard justification for Gondorian Sindarin being so recognizable soon settled on an idea that Gondorian Sindarin is a language of the elites taught to them in childhood and used as a courtesy or mark of high status rather than evolving naturally.

I've always found this explanation a bit odd given that in the main narrative of LOTR, the Gondorian groups we see using Sindarin in full sentences/conversations rather than for specific names like Mithrandir or isolated words are mainly Gondorian soldiers outside of leadership roles. Faramir's men in Ithilien switch to "another language of their own" that turns out to be Sindarin. In the streets of Minas Tirith, "many" random soldiers call out to each other in Sindarin to gossip about Pippin. The almost entirely Gondorian armies following Aragorn praise the hobbits in Sindarin and Quenya.

But if we take Tolkien's statement at face value, the implication is that Númenórean elites in Gondor (i.e. a small fraction of the overall Gondorian population) outnumber the combined populations of all Sindarin- or Quenya-speaking Elves remaining in Middle-earth.

Many Elves have left or died, yes, but we're still talking about the Elves of Rivendell and of Lothlórien and all the ones scattered throughout Lindon, combined. If they really are outnumbered by Gondor's ruling aristocracy alone, I think the usual estimates of Gondor's overall population must be far too low. Tolkien simply noted that the population of Minas Tirith and its fiefs (presumably referring to Lossarnach, Anórien etc), while declined from the past, must have still been "much greater" than the combined Elvish populations of Rivendell, Lothlórien, and Lindon. That's not even getting into the more outlying fiefs of Gondor like densely-populated Belfalas.

(Alternatively, you could fanwank that Sindarin/Quenya are more widely spoken in Gondor than this and thus the population disparities, while certainly present, are not quite so extreme as this suggests. But that interpretation does require ignoring explicit statements from Tolkien in a way that something like theorizing population based on vague canonical suggestions is typically going to avoid doing.)

[austin-friars]

Short Story Snippet - Of Natural Sin

A conversation in 1542, between a soon to be married woman, and her friend and priest - who is gay and a bastard.

[widowshill]

roger confirmed 19th century lit lover

[pharawee]

[mythologypaintings]

Bacchus and Ariadne

Artist: Angelica Kauffmann (Swiss, 1741–1807)

Date: 1794

Medium: Oil on canvas

Collection: National Trust Collections, United Kingdom

Description

Oil painting on canvas, Bacchus and Ariadne by Angelica Kauffman RA (Chur 1741 – Rome 1807), signed and dated: Angelica Kauffman Pinx: Romae 1794. Bacchus, the god of wine, wearing a leopard skin and carring a thyrsus is being led by Cupid, god of desire, represented as a winged boy. Cupid draws a golden drape aside to reveal Ariadne, in white, reclining at the right. She is weeping and has raised her right hand. The composition has a coastal setting with rockfaces and the blue sea beyond. Companion to 'Euphrosyne complaining to Venus of the Wound caused by Cupid’s Dart' by Angelica Kauffman (NT 608951). An earlier version of the subject, dated 1764 and among first classical pictures by Kauffman is in the Landesmuseum, Bregenz.

The picture was commissioned by Thomas Noel Hill, 2nd Lord Berwick (1770-1832). He was in Rome in 1792-93 with the mineralogist and traveller Edward Clarke (1769-1822), who related that 'Lord Berwick is employing Angelica Kauffmann in painting and I am now selecting passages from the poets for her to paint for his house at Attingham'. The subject was taken from Ovid.

[eridonna]

Stage Adaptations about Empress Elisabeth that's not Elisabeth das Musical (Part 1)

─ ⋆⋅ ✷ ⋅⋆ ────── ⋆⋅ ✷ ⋅⋆ ────── ⋆⋅ ✷ ⋅⋆ ─

Sisi – The Soul of an Empress

© State Opera Stara Zagora (Bulgaria)

Watch Trailer

This is not Elisabeth das Musical, it's an opera-musical by Austrian composer Roland Baumgartner also based on Sissi's life.

The musical premiered in Mörbisch in 1991 and is one of the first modern musicals about Empress Elisabeth of Austria.

[just-wublrful]

not to be obnoxious on main but classic literature is not global literature. it's western literature at best