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Boulder, Colorado. The wild turkeys crossed my path again this morning as I was driving to work. I'm worried they are going to be killed crossing the road during rush hour! Apparently they know to look both ways! They been crossing here every morning for at least 6 months that I know of.
"the artists of the "Casa del Musical" group (House of Musical)".
“gli artisti del gruppo "Casa del Musical".
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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".
This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.
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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.
Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).
Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.
Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.
…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.
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Sometimes in an urban exploration you can put yourself in a highly dangerous situation, just to take a photo of something that's hard to get to. We must always weigh the risk versus the reward in these situations.
Here Miss D has wiggled underneath the smashed trailers front section. Unknown to her is that there is very sharp pieces of rusty steel, centimeters from her head and back. She was very lucky this time..
Please be careful out there in the world of urbex
"A ridere c'è il rischio di apparire sciocchi;
a piangere c'è il rischio di essere chiamati sentimentali;
a stabilire un contatto con un altro c'è il rischio di farsi coinvolgere;
a mostrare i propri sentimenti c'è il rischio di mostrare il vostro vero io;
a esporre le vostre idee e i vostri sogni c'è il rischio d'essere chiamati ingenui;
Ad amare c'è il rischio di non essere corrisposti;
a vivere c'è il rischio di morire;
a sperare c'è il rischio della disperazione e
a tentare c'è il rischio del fallimento.
Ma bisogna correre i rischi, perché il rischio più grande nella vita è quello di non rischiare nulla.
La persona che non rischia nulla, non è nulla e non diviene nulla. Può evitare la sofferenza e l'angoscia, ma non può imparare a sentire e cambiare e progredire e amare e vivere. Incatenata alle sue certezze, è schiava.
Ha rinunciato alla libertà.
Solo la persona che rischia è veramente libera.
(Leo Buscaglia - Vivere, amare, capirsi)
Shot for Macro Mondays "Pure Joy" theme. I have to say, if I don't get a fun gift at Christmas, I'm always a little disappointed. I guess part of us never really grows up. This year I got a new board game. Risk - Onyx Edition. Very well put together game, with an amazing wood board.
Nice glossy surface for taking pics of.
Update: A lot of people think I did some post processing, I didn't, Other than a small exposure balance and some speck removal this is SOOC. The ghosting effect was formed from a long exposure with a flash pop in the middle of the exposure. The 3 dice were thrown across the board during the exposure..
View towards Sgurr Dearg
from Sgurr na Banachdich
Isle of Skye, Scotland 2019
Kodak Portra 400
Agfa Isolette I
Scanned with Epson V800
Adjusted in Adobe Photoshop
Cosmic radiation could increase cancer risks during long duration missions. Damage to the human body extends to the brain, heart and the central nervous system and sets the stage for degenerative diseases. A higher percentage of early-onset cataracts have been reported in astronauts.
Earth’s magnetic field and atmosphere protect us from the constant bombardment of galactic cosmic rays – energetic particles that travel at close to the speed of light and penetrate the human body.
A second source of space radiation comes from unpredictable solar particle events that deliver high doses of radiation in a short period of time, leading to ‘radiation sickness’ unless protective measures are taken.
Credits: ESA
On each side of a mountain road just before/after a tight bend in the road are dangers. On the opposite side is a steep drop onto a much-scarred tree whilst on the other is this stone platform.
A welder repairs the outer boiler wall adjacent to the fire firebox.
Having climbed through the fire box door with his equipment he gets to work keeping this Ex German Class 52 Krigslok 2-10-0 working. No ventilation, limited lighting, loan working and single means of escape.
Hats off to this guys dedication.
Repair works are being carried out in the dedicated steam locomotive workshops in Bukinje near Tuzla, Bosnia.
This locomotive will normally work the vast Tuzla coal fields at various coal mine loading facilities.
Boeing will begin offering global customers the Enhanced Medium Altitude Reconnaissance and Surveillance System Risk Reduction Prototype now that the aircraft, pictured here, has received Supplemental Type Certification from the U.S. Federal Aviation Administration.
Boeing provides this photo for the public to share. Media interested in high-resolution images for publication should email boeingmedia@boeing.com or visit boeing.mediaroom.com. Users may not manipulate or use this photo in commercial materials, advertisements, emails, products, or promotions without licensed permission from Boeing. If you are interested in using Boeing imagery for commercial purposes, email imagelicensing@boeing.com or visit www.boeingimages.com.
ran into risk. asked if i could snap a shot of him by his piece. the kid's hella good, and super cool.
With another train signaled, Scot Rail Class 170, No 170457 passes Errol home signal with a Glasgow to Dundee service
Whether to risk the down escalator or take the safer stairs. Always a quandary!
Buchanan Street entrance to the Subway - Glasgow.
Barcelona (Spain).
Sometimes you need to take risks to achieve that you want.
A veces es necesario asumir riesgos para conseguir los que uno se propone.
¡¡En el puesto 295 de Explore del 14/03/2009!!
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Having stayed up late at the tavern the Dragon guard was nearly asleep. Aeridian quickly locked him into a throat hold and covered his mouth before he could even realize what was happening. Looking both ways down the hall, Aeridian pulled the guard back into the cell and closed the door quietly.
“What should we do with him? Other than kill him I mean…”
Saloso smiled at the shocked look on the man’s face. He gently removed his helmet, much to the guards dismay. Saloso gripped his trusty ale bottle tightly and took a deep breath. Without any word of warning he smashed the bottle against the back of the guard’s bare head. Aeridian winced as bits of glass scattered across the dungeon floor and wall. The man slumped in Aeridian’s hold, causing the Elf to let him fall into the pile of straw. Hearing no alarm or thud of boots Aeridian breathed a sigh of relief.
Saloso looked at the broken bottle and shrugged. “Hopefully I can get a drink when if we get out…”
Graig pushed Derrik forward and gestured to the unconscious soldier. “Well, don’t just stand there staring, put his armor on!”
Derrik tried to resist Graig and shook his head vigorously. “I-I don’t w-want to… w-what if I-I get c-caught?”
Graig crossed his arms and glowered at him. “Well of course we will, if you keep prolonging are escape! Think of it. We have a chance to get out of this dreadful place for good, why would not take the risk?”
Derrik hung back and slumped against the wall. “I-I’m scared, G-Graig. I m-might slip u-up and g-get us k-killed!”
Aeridian knelt down and patted Derrik on the shoulder reassuringly. “Try your best. Don’t think about what might go wrong, it’ll bog you down. If all goes to plan look where we’ll be tomorrow, free! We’ll be able to go back to our lives, even if that means in hiding…”
Derrik sniffed and rubbed his nose with the back of his sleeve. “Thank y-you, Aeridian. I-I’ll try.”
He slowly pulled off his ragged shirt tossed them aside and wriggled out of his breeches. Aeridian walked over to the door and looked out of the bars. Leaning against the wall he checked his satchel reassuring himself that all was present and in order. He chuckled as Derrik attempted to yank off the guards trousers without taking the boots off. Aeridian’s mind wandered to the night that was ahead. He knew he could escape with ease on his own, but with three in tow? That would bring a host of problems… only if they might become the distraction. Aeridian frowned; he could slip away if they encountered the guards, but what then? Leave them to be imprisoned yet again? He would have to tell them that after they escape the dungeons, they must part ways. Derrik adjusted his trousers, tightened the belt and buttoned up his tunic. He reached for the chest plate and looked over it for a few moments, then proceeded to strap it on upside down.
The Elf’s train of thought was broken when he noticed Derrik fumbling around with the armor. “Wait. You wouldn’t get it to fit that way… hold still. The armor actually goes this way and is connected in the back with these clasps, see? Now is it snug enough for you?”
Derrik moved around and waved his arms, testing the weight and maneuverability it allowed. “I-I think i-it’ll work. T-thanks.”
Aeridian looked around, Graig was rubbing his hands in anticipation, Saloso stood ready at the door and Derrik eyed the guard’s spear axe cautiously.
“Are you ready?” All heads nodded in unison. “Good, here’s how the plan: Derrik, you will follow us down the corridor until we reach the stairs. A little prod now and again will help fool anyone watching us. Once we arrive at the stairs the soldiers shift should be taking place. As the new guards come down the stairs I’ll wait just out of sight and let them pass. When they ask you what you’re doing try to take attack one before they can react. I’ll take care of any others. Then Saloso and I will disguise ourselves as the soldiers and we’ll continue out of here. Any questions?”
Graig thought for a few moments and shook his head. Derrik was still occupied looking at his weapon and didn’t seem to hear either way.
Saloso raised an eyebrow. “What if they stop me? I don’t think they have any guards with skin as dark as mine…”
The Elf shrugged. “It’s night out. I don’t think anyone will be able to see clearly enough to notice. If that’s it, we better go now before they start wondering about the missing guard.”
Opening the door Aeridian lead the three prisoners out into the dimly lit hall. After he closed the door, Derrik roughly pushed them forward and smiled, almost wickedly. The corridor was damp and cold. Aeridian wrinkled his nose at the smell of rotting food and rat droppings, among other unpleasant things. As they passed other cell doors, Aeridian noticed many haggard faces and large, sad eyes. The Elf turned away and quickened his step. The entrance to the dungeons was wide, with plain stone walls and a small chair and barrel in the corner. Seeing the chair empty Aeridian moved silently across the floor to the opposite corner, next to the stairs. Without waiting for his signal the other three prisoners continued to make their way forward. Just then they heard the sound of loud voices and heavy boots hitting the stone. Two Dragon soldiers were joking about a cruel form of torture as they entered the room. They stopped short when they noticed Saloso and Graig being escorted by Derrik.
“Oi! Whaddya think yer doin’ wit’ them, eh?”
Derrik opened his mouth but he didn’t need to answer. Aeridian jumped out of the shadows and expertly swept the leg out from under one and finished with a sharp neck punch. Waiting little time Graig and Saloso tackled the other to the ground.
“Ahhhrrrggghhh!!!”
The guard attempted to struggle, but with two angry prisoners on top, it was to no avail.
Aeridian took off his pouch and began unbuttoning his shirt. “Quickly, before any more soldiers come.”
Saloso nodded and did the same. “So on to the courtyard and then meet your Elf companions? Will they have room for us as well?”
Aeridian paused; he was lost for an answer. Galdreir was only expecting Aeridian, and no doubt brought rangers with him, who filled up any extra space. He had to tell them that he would part ways from them once in the courtyard. But how could he break the news to them after the aid they had been to him?
Aeridian swallowed nervously. “I’m not sure. I guess we’ll find out soon…”
Graig grunted suspiciously. “Mhm, and if they don’t? Don’t think you can leave us that easily, Elf!”
The Elf remained silent as he pulled on his boots. Escaping the Dragon soldiers wouldn’t be hard. It was now the prisoners who had him trapped…
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Part 6! The next few parts will probably take a little longer to make/upload… :P
But I’ll try to get them out as soon as I can!
Thanks for support and comments! I really like reading them, so leave more! :D
This was built for the Lands of Classic Castle on the Classic Castle forums, check it out!
~ Ductus Exemplo ~
-Aeridian
Built for round 2 of Rogue Olympics 2024 with the theme "Danger" and using 82 pieces (including the support structure). This build was a sequel to my build Risk Rat from last year's rogue olympics, which you can see here: www.flickr.com/photos/197227990@N07/52803237739/in/datepo...
This time the rat is clad in black and using a harness to attempt to steal the cheese without springing the trap.
This is the kind of clothing a uk prisoner who poses an escape risk from custody would wear. This maybe due to the seriousness of their crime or made previous attempts. There is a slight variation on this with the same colours but a denim jacket and jeans worn and in large letters the initials of the prison establishment on the back. The prisoner would remain handcuffed throughout transportation. Thankfuly I never had to escort too many of them.
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Sculpture called "Taking Risks" made in Carrara marble in 2019 by Helaine Blumenfeld, United States.
Contemporary sculptures in a pre-historic landscape. Exhibition in 2019, Pilane, Sweden. When the British newspaper The Guardian appointed "10 of the best scupture parks in Europe", Pilane was one of them.
pilane.org (website partly in English)
sunrise at kemasik beach, terengganu, malaysia.
salt water is an enemy of any electronic devices including your camera. this is a calculated risk i took last friday. i'm not the bravest but i certainly try not to be the dumbest. first have to observe the splash pattern/effect and how far it go then go nearer to its farthest point. u somehow/sometime will certainly "taste" the splash but only minimal for the camera seal to handle. better option is u can use cheap camera rain cover to cover the camera body to give u better protection.