#historic mill

[hometoursandotherstuff]

Beautiful converted 1900 historic mill in Quakertown, Pennsylvania has the original mill stone on the lawn, that was used to crush and grind the wheat and grains for bread. 4bds, 3ba, $885K.

I do like the entrance hall- beautiful leaded glass door.

Through the door is a vast main living space with a long stone fireplace and what looks like another millstone for a coffee table.

One step up is a very large dining room area off the kitchen.

The large eat-in modern country kitchen.

Cute half bath with a barrel sink.

Interesting how they put a wall over the stairs.

The primary bedroom is huge and look at the fireplace and stone wall. The ceiling also looks original.

One of the other bedrooms. Smaller, but a good size.

The full baths are disappointingly plain.

The home is listed as a single family but there's another big living/dining room and a kitchen up here.

These are the original hand hewn and joined beams.

There are so many large rooms, I'm wondering how much it costs for heat in the cold Pennsylvania winters.

There are rooms of work areas. The home is huge.

The water trough that drove the mill is still here.

The stucco top coat on the house is wearing off and exposing the stone. Looks like a picture.

The garden is lovely.

The mill stream flows past the large redwood deck. There's a total of 4.51 acres of land.

[anglerflsh]

"people didn't get canceled before these sjw" Dante put all the people he disliked in literal hell

[yorksnapshots]

The Black Tower.

No, It is really called The Black Mill but tower seems more dramatic! Westwood Pasture, Beverley, East Riding of Yorkshire.

This area of 'common land' was granted to locals by the Lord of the Manor in 1380, and today residents still hold rights to graze cattle and sheep in a practice overseen by so-called pasture makers.

A windmill has stood here since 1650. This structure rebuilt in 1803 but it's working gear was removed after a fire in 1868. It was then used as a dwelling until 1934 and now stands as a Grade 2 listed monument.

[postcard-from-the-past]

Aumühle cotton mill in Augsburg, Bavaria, Germany

German vintage postcard

[greenh0ur]

[abybweisse]

Ch210, Where is F. O. L. Orphanage?

⚠️ long post ⚠️

I was discussing that question with @juxl25, and I think we came up with a good choice for its location.

The only information we know for sure is that it's in Norfolk, and that it's near a river. We also know Finny and Snake took a train to a nearby town and walked to the orphanage.

We also know there's a wind pump that drains water from the surrounding marshland. There are at least four major rivers in the area used for draining the marshes: Yare, Bure, Wensum, and Ouse.

Juxl25 suggested River Yare and the historic Red Mill (the wind pump) as the area but was looking at Manor House, which is farther away, in the village (proper) of Haddiscoe, Norfolk. After some digging around, I agree with River Yare and Red Mill/Langley Detached mill (originally called Langley detached windpump...

...or Langley Detached drainage pump).

They are in an area northeast of Haddiscoe village, called Haddiscoe Island (these days), thanks to a canal added to connect River Yare and River Waveney farther inland, creating an island of the area and making the marshland there more remote/less accessible.

There's a historic farmhouse just east of River Yare, not far from Red Mill, called Raven Hall. And Raven Hall would be a premium location to have a secluded facility like F. O. L. Orphanage.

There's only one thing I don't like about the buildings shown for Raven Hall -- it's a bit farther from the drainage pump than I want it to be, and it's just a large farmhouse (almost 3000 sqft) and a long barn (almost 900 sqft). But there's a cool space just south of those buildings, which would be ideal for the main orphanage, as well as a spot for the stables/barn leading closer to the drainage pump, farther south. Here are two options for the placement of F. O. L.:

In each case, I've placed the stables to the west of the main house, as a small red rectangle (more or less), while the windpump was already marked by a red dot farther southwest. Looking at the bend of the river on Theo's image of a map of the place, the placement on the right (above) might be the better match. Then again, it could be exactly where Raven Hall is located. And Raven Hall, having been built in the 17th century (or at least 1700), is older than Red Mill (built in 1840).

Too bad I can't see the placement of the windpump on his map, but I think it's somewhere behind the speech bubbles on the left side of the panel.

We see that the windpump at the orphanage has a low roof of some kind, and juxl25 explains that someone was probably living onsite just to maintain it full time. I did find at least one pic showing Red Mill with what could be the old maintenance shed/shelter, but it seemed to be on the wrong side. Who knows? I guess it depends on which way the sails are facing to catch the wind? But the low roof in the panel is probably just the top of some shed.

Oh, and near St Olaves, there's a train station called Haddiscoe Station. They could have got off the train there and made their way north to the orphanage by foot. Or did they hitch a ride part of the way? I'll have to go back and check.

I'm still considering one other location, not far from there, but I won't post it unless further research looks more promising.

Hey... can you imagine if all this time... F. O. L. was just some place name reference... like "Farmhouse on Langley" (Marshes)?!?

Please let these kids break the windpump and flood the tunnels.... 🙏

[pmedica]

pmedica

[lgbtqreads]

Fave Five: Queer Historical Mystery Series

Harlem Renaissance Mysteries by Nekesa Afia (1920s) The Nightingale Mysteries by Katharine Schellman (1920s) The Simon Sampson Mysteries by David C. Dawson (1930s) Pentecost and Parker by Stephen Spotswood (1940s) Evander Mills by Lev A.C. Rosen (1950s)

[canberramaidan]

'Cats do whatever they wish, whenever they wish it.'

The Landowner's Secret (HarperCollins) by Sonya Heaney.

[swanqueensalad]

i’m not sure if you’ve already done something similar but i was wondering if you had any hc for regina’s relationship with clothes? i just feel like there’s so much to dig into with all her mother’s bullshit and how she was raised to value appearances, how performative a lot of her outfits were as the evil queen, the shift in how she dresses after the curse breaks, her and emma’s opposite approaches to how they dress themselves. idk i just feel like if anybody else would also have thoughts on this, it would be you

anon i am literally in love with you for sending me this ask. honestly why have i never done a post on this before!!! this is SO interesting to me!! clothing is definitely a hugely important part of regina's character and journey over the course of the show.

PSA: this turned into a literal play by play biography of regina's life through clothing. ur welcome. also this is totally unedited, we die like men

I think clothing means a lot of different things to Regina. I think she both revels in and resents the glitz and glamour, uses it as her shield, weaponry and armour but also it can be very vulnerable for her... it's a lot

and I agree that, unfortunately like many things with Regina, we have to start by tracking back to her childhood and how Cora raised her

Regina is a young noblewoman in the enchanted forest, and much of her 'value' to her family would lie in making an advantageous marriage. Layer on top of that Cora's absolute single minded determination for success, social climbing and for Regina to become queen one day and you just KNOW appearances were a huge deal when Regina was growing up (we see this threaded through canon too, in Cora magically changing Regina's clothes/hair/makeup for her)

to Cora, Regina's beauty was always a valuable tool she could use, but her brutal ambition would have led to absolute perfectionism.

After all, sweetheart, queens have to be perfect.

I think even when Regina was a very young child, a huge amount of weight was put onto her clothing and how she was presented.

I can imagine Cora choosing elaborate outfits for her infant daughter, dressing her up like a doll and making sure the ribbons in her hair matched exactly, being absolutely critical of everything to ensure her child was the best dressed, the most perfect

And I think this hugely impacted Regina's childhood. Cora would have allowed Regina very little freedom, partially because she was conditioning her to behave like a queen (or just like an obedient pawn for her to do whatever she wanted with) but also partially because Regina literally could not risk getting messy or dirty.

Image is everything, darling.

As child, Regina couldn't really play because she would ruin her dress, or her hair, or scuff her shoes. She had no choice but to occupy herself with the 'proper' pursuits that her mother approved of, because she physically couldn't do anything else. No running, tree climbing, flower picking etc for tiny Regina. Lots of sitting quietly and looking pretty, even as a child.

I can definitely see Cora showing Regina off from an early age, dressing her up like a doll, inviting other noblewomen for tea and dressing Regina better than any of their children, making her sit nicely and quietly.

If Regina were to be 'bad' and accidently dirty her dresses, mess up her hair etc. I think Cora would definitely punish her quite severely. because from day one, Cora was drilling into Regina that her appearance was one of the most valuable and worthwhile things about her. Queens have to be perfect.

And of course, little Regina doesn't want to be a queen, she just wants to go play in the meadow with the other children, but she wants to be a good girl more than anything, because mother hurts her when she's not.

As Regina grows older, I think Cora becomes far more critical of her appearance. A doll like, cute child is far easier to keep 'perfect' than an adolescent girl, and it's also all a huge control tactic for Cora to keep Regina affection starved and desperate to please her. So there would be backhanded comments, the constant pressure to be more beautiful. The feeling started to grow in Regina that she was pretty, just not pretty enough, never enough.

Ik I've talked about this before here (TW for EDs) but I headcanon Cora as absolutely fucking up a young Regina's body image and relationship with food too, controlling/restricting her diet. So I can imagine that dress fittings became a source of enormous stress and pain for an adolescent and teenage Regina.

In the enchanted forest, as a noble, all of Regina's clothes were likely hand made from expensive fabrics. Cora would spare no expense for making her daughter the most fashionable, beautiful, ideal young lady. So there was enormous pressure on Regina to 'wear the clothes well' and to keep them pristine. But these fittings would have been hell, because Cora definitely was stood in the corner, never ever asking Regina's opinions or how she feels in the clothes, but only ever criticizing the fit, asking if her corset could be laced tighter, and despairing over tiny mistakes.

Despite all this though, I do think a young Regina enjoyed clothing and fashion in a way. As much as her mother made it absolute hell, Regina really did like the few dresses she was allowed to have a say in and I think she always liked pretty things, she just wished she was allowed to like them on her own terms.

I think the white dress we see her wearing in a lot of her early EF flashbacks was one of her favourites because it's pretty but also simple and comfortable, something she would have chosen herself and just luckily happened to be considered suitable by her mother.

I've written about it in this fic but I also think Cora would have been actively sexualising Regina from a young age, trying to make her as appealing to suitors and other noblemen as possible to get more power and advantage. This would make Regina very uncomfortable, and I think at this point she really resented all this elaborate clothing and heavy jewelry.

There's also something really interesting in canon ouat costume design I want to discuss because I've never seen it discussed before: in 2x015 The Queen Is Dead, we get a glimpse of the fashions in Leopold's kingdom around the time Regina and Snow were about to meet for the first time. We see Queen Eva, clearly an empowered adult woman, wearing a tightly fitting deep red dress covered in jewels. Meanwhile the ten (ish?) year old Snow White wears a more appropriately girlish frock with puffy sleeves, a simple bodice and full skirts. Around this time, we mostly see Regina dressed in the latter style, implying she is still being dressed and presented more as a young lady/maiden than an adult. The blue dress Cora puts her in to meet King Leopold is a very similar design to Snow's, with full sleeves and skirt; her riding coats are also loose and puffy sleveed; the dress she wears at dinner when married to Leopold is full sleeved and skirted too; the white dress we see her in several times is the exception, but looser still than Eva's style.

I believe the earliest we see Regina in that adult style dress is in Fruit of the Poisonous Tree, when she's years into her marriage and about to kill her husband and seize power. This is a moment of empowerment for her shown through costume, and a clear shift she's gone from girl to woman, which is actually disgusting considering this is at the end of her marriage to the elderly king.

My point here is that I think throughout her marriage the world still saw Regina as a child to a degree, a poor replacement for Eva, and Regina was still very much a young woman, who did not feel any older or freer. Her marriage kept her trapped and unempowered, just like her mother had.

She always had to be beautiful and perfect, and this pressure was amped up even more as queen. I can see a newly married Regina trying so hard in the first few years to always be perfect, constructing elaborate outfits, hair and makeup just like Cora taught her, to try and be good enough for Leopold, to make him more kind to her, to make anyone at court notice her at all, but it never works. She is still only ever objectified or sidelined or both.

When she begins training with Rumple, we start to see Regina developing a new sense of style: she begins wearing darker colours, to mimic her mentor in a way. I think this is very indicative of her mental state, how easily influenced she was, how much she wanted to latch onto this one source of potential hope and power in her life.

But this was of course a transitional period, and I do think it's interesting that we see her in 1x11, seducing Sidney and killing her husband finally wearing one of the long, tight, elegant 'adult' dresses Eva wore as queen. This is when Regina really steps into her own power.

Once again to refer briefly to the same fic I think in the few years leading up to this (remember, as I love to remind everyone, her entire horrific marriage was probably around 8 years at least), Regina began to learn more of her seduction politics, and started to understand how she could manipulate the way men behaved towards her. She started to fully understand what her mother meant, how to choose a dress for the right situation, how to choose a neckline, a lipstick shade, a way of walking and talking.

I think this took her a while to stop feeling disgusted by. At some point, the rush of even this tiny way of grabbing power was exhilarating, long overdue. At some point, that stopped making her skin crawl.

Starting to wear darker colours was I think a way of rebelling against her past self. I really think throughout her reign as the 'evil queen', Regina had to loathe her younger, innocent self because that was the version of her that got hurt, used, raped, manipulated, brokenhearted. It was easier to hate that version of herself, to blame herself for being weak and stupid (Mother's voice in her head, always) than to fully feel the pain she was still in. So the pastels and whites of her youth were completely gone. She buried them, and the girl who loved them, as far as she could.

It also seems like pastels were commonplace in the Enchanted Forest based on every extra in every ballroom scene ever, and at this point Regina was so reliant on her attractiveness as a form of power that wearing dark colours and deep jewel tones was a way to ensure she always stood out, always caught the eye.

As her reign grew, I think the Evil Queen costumes grew more and more extravagant as a show of wealth and power to dazzle the commoners and intimidate all the nobles. Regina was showing them with her style choices that she was in a league of her own. And the more she leaned into it, the glitz and glamour, all the diamonds and makeup, the things she hated as a young girl, the safer she feels. The more hidden. The more superhuman.

The Evil Queen was a physical symbol as well as an idea of who Regina was. I think of it almost like how celebrities have public persona, sexualised and stylised, instantly recognisable and fastidiously designed. I think this made Regina, a physically small woman, much smaller than all the other older, male leaders and rulers, feel protected, confident and powerful.

(I think it's also a defense against the fact that as a very young girl Regina was sexualised by her own mother for a much older man, for his whole court I suppose. Regina has always been taught, through her mother's words and actions, that her beauty and attractiveness correlate to her worth, power and usefulness. And now she sort of enacts that on herself to keep herself safe. Because they can't sexualise her if she's sexualised herself first, they can't be using her if she's letting them and using their lust for her to her own ends. Her beauty keeps her safe. Queens have to be perfect, Regina.)

When we get to Storybrooke, I think it translates somewhat. In this world, political figures are the power symbols, and unfortunately in this world too, female politicians are more successful if they are polished and beautiful. Or so Regina would see it.

Queens have to be perfect, sweetheart.

She upkeeps the Evil Queen thing where she has a recognisable image, this polished perfect professional thing. Though this world is on a much smaller scale, Regina's mindset is not at all. She would never be seen out of the house without a perfect face of makeup, without perfectly done hair, manicured nails, the right outfit, the right shoes. Because queens have to be perfect. You can't show them a single crack in your armour.

It isn't all a chore though. I think Regina really does enjoy her own style, especially in Storybrooke as it is so different to anything Cora or Leopold would have had her wearing, and because it's part of a world she made for herself, there's more of a sense of independence and ownership of her own style. I think she has a really nice sense of routine in doing her makeup and hair, which is good for her too.

But still in Storybrooke, we see Regina using her attractiveness, using seduction as a often reached for tool in her arsenal.

And on the other hand we have Emma.

Now, this is a Regina post but the ask did specify and I do find it interesting and want to discuss, so I'll give a much briefer overview of my headcanons about Emma and her style.

Off the bat I'll say I consider 'Emma's style' as season 1 and 2 Emma. (I'm not going to analyse the straight-girl-style-ification of Emma Swan in the later seasons bc that's another story and also just Bad storytelling imo)

Skinny jeans, boots, tanks, plaid, leather jackets, beanies, baseball shirts. She's mostly casual, can be a bit edgy, a bit lesbian swagger, a bit teenage boy (at times). Sometimes she does a winged liner, sometimes nothing. And she dresses with nothing else in mind but what makes her feel confident and cool and herself.

Because Emma as a kid never really had the freedom to pick her own clothes. The homes got a lot of donations, and sometimes there were cool things she could grab a hold of if she managed to beat the older kids to it, but a lot of the time she was just in whatever hand me downs she could get. Not ideal for a young queer girl trying to work out her identity.

So when she started to establish a life for herself, the first time she buys her red leather jacket etc, these moments are really meaningful to Emma because it's more about being able to own her sense of self and stand on her own two feet in a stable way rather than just being about the clothes.

Which is so beautiful, because it just goes to show that once again Regina and Emma are complimentary opposites. Clothes were never important in Emma's life, so when she gets the chance, she just likes being able to wear whatever the fuck she wants, to never really worry about it, and to feel good. To Regina, clothes were always enormously important and so a great deal of thought and preparation goes into everything she wears.

I think it is interesting the way they interact in this case, because they are so different, and they both find the other one so hot, and I think they also both admire how different it is for the other.

Regina in denial would definitely consider Emma's casualness to be improper and lazy, but deep down, and eventually openly once they grow closer, she knows she admires her freedom and fearlessness.

Meanwhile Emma thinks Regina is the hottest woman on the planet (she's right) and appreciates how perfectly her gf puts outfits together, how good her makeup and skincare collection is.

But Emma can also see the other side of it for Regina too, is one of the few people (perhaps because of her own history with clothes) who can see the strain there. The control and obsession with her own appearance, the perfectionism.

And I think Emma is really good for her in that sense. Emma's own freedom and confidence is a good influence. Because gradually, as they get together and their relationship develops, Regina is able to let down a little more of that mask, bit by bit.

Letting Emma see her with wet hair, her natural curls straight out of the shower. Or in her robe with no makeup on in the mornings. And as they build their life together, Regina finds this immense relief in having someone who sees all of her in every state.

It's not as scary as it once seemed.

And Emma thinks Regina is just as beautiful in leggings and fresh faced as she is with makeup and an expensive dress. (Once again, she is right). This is groundbreaking to Regina, this idea that she can be loved and valued without upkeeping her definition of 'perfection'. That she could be enough as she is, for Emma.

That she is enough, as she is.

And of course, she doesn't always believe that. How can she, after the life she has lived? But she's working on it, and when these feelings of immense vulnerability and insecurity in herself arise, she is able to voice them to Emma (sometimes with a bit of struggle) and Emma holds space for her, listens without judgement, calls Cora a dumb bitch (sometimes) and assures Regina that she is the most beautiful person Emma's ever seen, but that her beauty is not why she fell in love with her, and it's not what makes her worthy.

And slowly, I think Regina starts to get back to finding more joy in fashion. More appreciation, in the way her younger self always wanted.

[hometoursandotherstuff]

I love converted mills, but only if they incorporate the original equipment, and this is a type of mill I've never seen before- it's a corn mill, built in 1810 in Naas, Leinster, Ireland. 6bds, 2full, 2.5bas. $1,793,478

They converted the building into a home using museum techniques to preserve the inner workings. Am I lovin' that!

It does feel just like a museum. Look at how they preserved some of the ancient artifacts in glass.

I like the stone floors. Wonder if they're original. This is the ground level, and there are 5 floors.

1 of the 2 full baths is spacious and has wonderful large beams.

This home office is set among the workings of the old mill, too.

This pretty bedroom is on the ground floor.

And, so is this cute room.

What a beautiful living room. Look at the iron wheels. This is incredible.

This is stunning.

What a beautiful kitchen. Look at the original floors.

The kitchen is so large, it has a counter, and a big table, but there's also a large formal dining room.

On this floor, there's a cozy family room.

This bedroom has a nice big closet and an en-suite.

This building is very big. These stairs on the upper floors are spiral, but they look wider than the usual modern styles.

They primary bedroom is very large and has an en-suite.

What a pretty courtyard.

Beautiful grounds.

This equipment looks current. It must still turn the wheel.

There's a river and fruit trees on the property.

The lot measures 3.01 acres.

https://www.sothebysrealty.com/eng/sales/detail/180-l-115738-vclt67/yeomanstown-corn-mill-naas-ln-w91-afh1

[ouatreusedcostumes]

This Photoset is of Fur Coat on Once Upon a Time, First worn on Jennifer Morrison as Emma Swan in Promo Poster of Season 1 2011 and worn same year on Ginnifer Goodwin as Snow White and later being worn by Lana Parrilla as Regina Mills in Operation Mongoose Part 2 (2015) and worn again on Bailee Madison as Young Snow White in Time Labor of Love (2016)

[historicalreusedcostumes]

This Fur Coat Costume is worn four times in Once Upon a Time, First worn on Ginnifer Goodwin as Snow White in Snow Falls (2011) and worn second on Jennifer Morrison as Emma Swan in promotional photo shoot of Season 2 (2012) and later worn on Lana Parrilla as Regina Mills in Operation Mongoose Part 2 (2015) and worn again on Bailee Madison as Young Snow White in Labor of Love (2016)

[alpaca-clouds]

Games to play in the Middle Ages

You know, I thought I could talk about another medieval topic that might come in handy for people trying to write anything from fanfic, over historical stories, to just fantasy with a medieval setting: The kind of games that people would have played in the middle ages. Something that might also be handy for certain TTRPGs and things like that.

But first some background: You do have to understand that for the most part in the middle ages a lot of people had mostly self-made game boards (when it came to board games) and dice. If you were good with woodworking, those might have been made of wood, but often enough game boards were often just made from patches of leather with the board painted onto it with ink of some sort.

A lot of people would use just stones in black, white and grey. Sometimes also just painted stones or rather pebbles.

Given this fact, game rules might at times have varied a lot locally, as your game did not come in a box with a set of rules inside of them. Or worse, from a historical point of view: Some game rules have not been written down at all, so actually we do not know how exactly they were played and most we have right now is guesswork.

That understood, let's talk...

Dice Games

Okay, six sided dice were used for playing game for literally thousands of years. We have dice surviving from the ancient world. And after all, they were rather handy, right? Given that you can play a lot of games with just a few dice in your pockets. Especially games of chance that you could use to gamble.

This is probably the moment to make on thing clear: Gambling for a lot of people did not really happen for money, but just for some tokens and the fun of it. Because the truth is, that a lot of people historically did not have any or if some not many coins. So, you just would not gamble for coins. Money, as this universal thing we have today, was not that common for the longest time.

Still, people would gamble. And usually the games played with the dice would go something like this: Roll two or three dice and then it would either be "if you beat a certain number, you get something" or "you make a bet before rolling". Like, "I bet the number will be even/uneven" or "I bet the number will be higher/lower than X". There are a plethora of games we know, but in the end they will boil down to something like that.

Card Games

Something to note: Card games, as we know them right now, got established probably in the late 13th or early 14th century, so clearly more towards the end of the middle ages. They might have been around a bit longer - but if they were, we do not have any proof of that.

The current assumption among historians is, that playing cards as an idea originated in Asia, but came to Europe either through merchants - or were brought here by the Romani people. The deck of cards we know as our typical kinds of cards, was probably first created in Italy, though this, too, is not entirely certain. All we know is, that in the middle of the 14th century we have descriptions of those cards come up in surviving manuscripts.

The kind of games played with those cards were not too different from our modern games - with local variations of course. While most of the modern game rules were first written down in the 17th century, we do have a good idea that games comparable to Poker, Junker and Karnoffel have been around for fairly long.

Of course, the games really took off just after the middle ages, when printing made it a lot easier to create more of the cards much more easily.

So, let's go to some of the games that were played with boards of sort.

The Fox and the Geese

A game that is still around today. Often played on a board that looked kinda like the one you can see above (though historically speaking it was often much more simple), but at times also on just a normal checker board, one player plays as the geese (in some version of the game also sheep) and one plays the fox (in some versions the wolf). The figures can move in all directions - including diagonally. The fox can also jump another figure, if the spot behind the figure (in a straight line) is free.

The goal of the game is for the fox to eat all the geese by jumping them. While the goal of the geese is to outmaneuvre the fox by surrounding it to all sides or push it against a wall.

Tablut

Tablut is a game that originates with the Norse and was important to the rest of Europe through the viking raids. Hence you will find a lot of games sold today with some viking-esque decor on the game board, like the one above.

Like Fox and Geese the game is one of unequal sides. The black pieces are the attackers, the white pieces the defenders. The central white piece is the king, whose capture will end the game.

Both sides beat opponents with the same way: They move in straight lines (not diagonally) like the rock in chess. To beat an opposing piece, you need to trap it between two of your pieces.

The goal for the attackers is, to capture the king. The goal for the defenders is to beat out at least half of the attackers.

Mills

This is probably one of the best known games from those I post here, given that it is often included in a lot of board game collections to this day.

This is a very symmetrical game, where both sides follow the same rules. The game board is empty at the start, then both players alternatingly put down one piece at a time. The goal is to get three pieces in a row. As soon as you have, three in a row, you can steal one of the opposing pieces.

When all pieces are set, you can move the pieces in a straight line and try to once again bring three of your pieces into a line and steal more pieces. The game ends, as soon as one side only has three pieces left.

Tables / Nard

Okay, let me talk about a whole genre of games. These originated probably in either old Egypt or old Mesopotamia, though we honestly do not know this exactly and frankly: I made the mistake before to ask a historian friend about it, and learned that this is a very emotional topic for a lot of historians. It is somewhere from what we today call "the middle east".

Given it is old and has travled far, there are tons of variations, but the general idea is always the same: Both players have a certain numbers of pieces, those need to be moved all around the board once. This is done by rolling either one die or two dices.

And this if the point where the common rules end. Because in the end there is a ton of local variations. The number of pieces varies. The number of dice varies. It varies whether you can beat other pieces, whether you can strategically block fields. All of that is depending on local rules.

It should be noted that there were definitely variations of this game around made for more players. Often called "Table of Seasons" (which was for four players) and "Alchemist's Tables" (which was usually for seven players).

Of course there were other games around, too. Chess was definitely around in the middle ages too, with similar but not quite the same rules we have today. And there is some evidence that Snakes and Ladders came to Europe in the 13th century.

[postcard-from-the-past]

Old mill in Hildesheim, Lower Saxony, Germany

German vintage postcard, mailed to Wien, Austria

[fluentisonus]

ooh you want to watch the 1927 british silent film Hindle Wakes so bad 🌀